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Full text of "Donizetti's opera Don Pasquale : containing the Italian text, with an English translation and the music of all the principal airs."

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DON  PASQUALE 


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OPERA 

DON  PASQUALE, 

COMTAIMIWO  Til 

ITALIAN  TEXT,  WITH  AN  ENGLISH  TRANSLATION 
Cjjt  Htnsk  of  all  tjjt  Jrmripl 


BOSTON 

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Copyright,  1800,  by  Oliver  Ditson  &  Co. 


CHICAGO 

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JD  IFt -A-       -A.  T I S 


DON  PASQCJAIjB.  BAStt 

DOCTOR  MALATESTA.  BARITONE 

ERNESTO.  TENOR. 

NORINA.  SOPRANO 


Notary,  Servants,  Valets,  Chambermaids,  Butler,  Milliner,  Hair-Dresser, 


UBftSTTO  BT   MM.  AX.PHOKSB  ROTHS.  AWT)  OUST  AVE  Till 


# 


ARGUMENT. 


Don  Pasquale  was  a  rich,  credulous,  but  good-hearted 
•Id  bachelor,  who  lived  in  one  of  the  middle  Italian  States. 
He  had  but  one  relation,  a  nephew,  by  the  name  of  Ernesto, 
a  fine  young  man,  who  had  always  lived  on  the  purse  of 
his  uncle,  and  in  the  natural  course  of  events,  would  in- 
herit his  wealth.  Uncle  and  nephew  had  lived  together  in 
j*eace  and  harmony,  umtil  the  former  got  it  into  his  head, 
©  provide  for  Ernesto  a  -  wealthy  widow,  by  which 
marriage  he  would  beco  mfortably  settled  in  life. 
Unfortunately  for  the  uncle's  fond  plans,  Ernesto  had  al- 
ready formed  an  attachment  to  %  young  girl  of  much  beau- 
ty and  many  accomplishments,  but  of  very  limited  fortune, 
— Norina,— and  refused  to  obey  his  wishes.  Don  Pasquale 
became  enraged  at  this  resistance,  swore  he  would  disin- 
herit Ernesto,  and  resolved  to  settle  himself  in  marriage,  in 
order  to  have  somebody  else  to  leave  his  money  to  than  his 
ungrateful  and  undutiful  nephew  Ernesto. 

As  Don  Pasquale  had  always  kept  himself  quite  aloof 
from  the  other  sex,  he  was  at  a  loss  upon  whom  to  fix  his 
ehoice,  when  he  bethought  himself  of  a  Doctor  Malatesta, 
who  had  been  friend  and  physician  to  him  a  good  many 
fears,  and  who  might  be  just  the  person  to  find  him  a 
suitable  wife.  Accordingly  the  Doctor  was  sent  for,  and 
made  acquainted  with  the  project  of  his  patron.  Now 
Doctor  Malatesta,  besides  being  sensible  of  the  absurdity 
of  the  old  bachelor's  resolution,  was  a  friend  to  Ernesto, 
and  immediately  made  up  his  mind,  to  save  Don  Pasquale 
from  just  ridicule  and  bitter  repentance,  and  Ernesto  from 
'ie  fate  of  poverty.  He  informed  his  patron  that  he  had 
*  sister,  who  had  just  finished  her  education  in  a  convent, 
and  come  on  to  visit  him ;  that  he  thought  her  a  capital 
match  for  his  esteemed  friend;  that  he  would  introduce 
her  to  him,  and,  if  the  impression  were  agreeable,  the  mar- 
riage might  at  once  be  consummated.  Don  Pasquale  was 
delighted,  and  asked  that  the  girl  should  at  once  be 
brought  to  him.  Malatesta  went  off  and  straightway  in- 
formed Norina  of  the  mischief  that  was  brewing,  and  the 
means  he  had  devised  to  prevent  it.  These  were  no  less 
than  introducing  Norina  to  Don  Pasquale  as  his — Mala- 
testa's— sister,  spoken  of  previously,  marrying  her  to  him 
by  a  sham  notary,  and  then  leaving  it  to  the  wit  and  inge- 
nue y  of  Norina  to  disgust  the  bridegroom  so  thoroughly 
with  matrimony,  that  a  denouement  would  at  last  relieve 
all  parties,  restore  Ernesto  in  the  affections  of  his  uncle, 
and  procure  Norina's  hand  for  him. 

Norina  did  not  hesitate  to  accept  the  part  assigned  to  her 
in  this  plot.  She  accompanied  the  Doctor  to  Don  Pas- 
quale'a  residence,  and  by  well  affected  modest  looks  and 
simplicity,  so  charmed  the  old  bachelor  that  he  desired  to 
marry  her  immediately.  Ernesto,  who  had  been  informed 
of  the  intrigue,  came  just  in  time  to  witness  the  ceremony, 


which  was  conducted  by  a  fictitious  notary.  No  soonet 
were  the  nuptials  celebrated,  when,  to  the  great  astonish 
meut  of  the  good  Don,  with  whom  order  and  economy 
were  the  leading  rules  of  conduct,  and  who  imagined  his 
young  wife  a  pretty  slave,  Norina  began  to  assume  the  airs 
of  a  mistress.  She  dismissed  old  servants,  overthrew  the 
order  of  the  household,  ordered  new  furniture,  carriage 
and  horses.  In  vain  Don  Pasquale  remonstrated;  she  must 
and  will  have  her  say.  He  spoke  authoritatively,  sht 
laughed  at  him ;  he  pleaded  moderation,  she  scorned  him, 
and  recommended  him  to  go  to  bed,  as  she  had  made  up 
her  mind  to  go  to  the  theatre  with  Ernesto  As  she  left 
the  room,  she  dropped  a  note,  which  Don  Pasquale  quickly 
picked  up  as  soon  as  his  spouse  had  left  the  room.  His 
consternation  was  indescribable,  when  he  discovered  by  its 
contents  that  his  wife  had  made  an  appointment  to  meet  a 
lover  that  very  evening,  by  a  pavilion  in  his  garden.  Doc- 
tor Malatesta  was  immediately  sent  for,  and,  of  course,  was 
not  long  in  coming.  Don  Pasquale  was  furious,  talked 
exposure,  punishment,  divorce,  &c,  but  the  Doctor  soon 
convinced  him,  that  in  his  just  rage  he  would  probably  go 
too  far,  and  persuaded  him  to  grant  full  power  to  solve 
these  difficulties  to  himself,  the  Doctor.  "Everything," 
said  the  old  husband,  "  only  get  rid  of  this  woman." 

At  11  o'clock  Don  Pasquale  and  the  Doctor  repaired  to 
the  garden,  where  Ernesto  and  Norina  enacted  the  scene 
of  an  interview.  They  just  caught  a  glimpse  of  the  figure 
of  Ernesto,  muffled  up  in  his  cloak,  who  then  slipped  ofl 
to  the  house.  They  seized  Norina,  who  boldly  asserted 
that  she  was  there  alone,  had  seen  no  one,  and  was  to 
meet  no  one.  Don  Pasquale  had  the  garden  searched. 
Nobody  could  be  found.  Norina  denied  all  charges  made 
against  her.  Don  Pasquale  proposed  to  buy  himself  off; 
she  would  not  listen  to  it.  At  this  juncture  the  Doctor 
dropped  the  remark  that  she  would  have  to  share  her 
authority,  at  any  rate,  with  Norina,  who  was  shortly  to 
enter  the  house,  as  the  wife  of  Ernesto.  Don  Pasquale  at 
first  was  greatly  shocked  at  this  indiscretion  of  his  mana- 
ger, but  perceiving  the  well  feigned  consternation  of  his 
wife  at  these  views,  he  avowed  his  consent  to  this  strata- 
gem, thinking  to  drive  her  out  by  the  new  comer.  And  so 
he  did,  as  he  immediately  found  out,  although  not  exactly 
in  the  manner  in  which  he  thought;  for,  no  sooner  had  he 
given  his  consent  to  the  marriage  of  Norina  and  Ernesto, 
when  the  latter  stepped  forth,  took  Norina  by  the  hand, 
and  asked  the  blessings  of  the  thunderstruck  uncle.  Doc- 
tor Malatesta  explained  the  deceit,  which  had  been  prac- 
tised upon  him,  and  as  Don  Pasquale  felt  so  happy  at  being 
at  peace  once  more,  he  united  the  hand  of  his  nephew  te 
the  hand  of  Norina- 


DON  PASQUALE 


ATTO  I. 

9CENA  L — Sola  in  Casa  di  Don  Pasquate,  eon  Porta  tn 
fondo  d'  entrata  comune,  e  due  Porte  laterali  ehe  gutdano 
agli  Appartamenti  intemi. — Un  Orologio  segno  nave  ore. 

Don  Pasqualb  solo,  guarda  con  impasdenza  all*  orologio. 


Pas.    Son  nov'  ore !  di  ritorao 
II  Dottore  esser  dovria. , 

Zitto  !  parmi — e  fantasia, 
Forse  il  vento  ohe  pas  so 

Che  boccon  di  pillolina, 

Nipotino,  vi  preparo ! 

V6  chiamarmi  don  somaro, 

Se  veder  non  ve  la  fo. 
Afalatesta.  \TH  dentro.]  E  permesso  1 
Pas.  Avami,  avanti  1 


SCENA  ll.—Entra  il  Dottor  Malat»»ta. 


[AscoUando. 


Pas.  \Con  ansieta.]  Donque  ? 


Mala. 
Pas. 

Mala. 

Pas. 

Mala. 


Pxs 


Zitto,  con  prudenia  1 

10  mi  struggo  d'impazienza ! 
La  sposina ! 

Si  trovb ! 

Benedetto ! 

(Che  babbione!) 
Proprio  quella  che  ci  vnole. 
Ascoltate  ;  in  due  parole 

11  ritratto  ve  ne  fo. 

Son  tutt'  occhi  ?  tutto  oreochie ! 
Mnto,  attento  a  udir  vi  sto ! 


ACT  I 


SCENE  I.— A  hoom  m  the  House  of  Don  Pasquale,  wttk  a 
Door  for  general  entrance  at  the  back,  and  two  Side-door  i 
leading  to  inner  Chambers.— A  Clock,  showing  the  hour  m 


Don  Pasquale,  looking  anxiously  at  the  Clock. 


Pas. 


'Tis  nine  o'clock !  on  his  return 

My  friend,  the  Doctor,  ought  to  be. 
Hush  !  hush  !  I  think — 'tis  fantasy, 

Or  else  the  wind  that  seeks  its  bourne. 
Oh,  what  a  mouthful  of  a  pill, 
Nephew,  prepare  for  you  I  will ! 
Myself  I'll  call  a  donkey  wise, 
If  soon  I  open  not  your  eyes  ! 
Malatesta.  [From  within.]  Have  I  permission  ? 
Pas.  Enter— freely  enter ! 

SCENE  II.— Enter  Doctor  Malatesta. 

Pas.  [ Anxiously.]  Well,  well,  my  friend  ? 

Mala.  Hush,  bush,  you  must  be  patient  f 

Pas.    I  am  consum'd  to  ashes  with  impatience  ! 

The  bride  !  the  bride  !  dear  Doctor  ? 
Mala.  She  is  found  ! 

Pas.    Oh,  bless  you  !  bless  you  ! 

Mala.  "  ( What  a  stupid  blockhead ! ) 

Exactly  such  a  one  as  you  have  wished  for. 

Listen  with  all  your  ears  ;  and  in  two  words 

The  portrait  of  the  charmer  I  will  draw. 
Pas.    I  am  all  eyes — what  do  I  say  ?  all  ears  ! 

Mute  and  attentive,  listening  I  wait  I 


BELLA  SieCOME  UN  AN GELO— BEAUTEOUS  AS  AN  ANGEL  BORN.    Doctor  Malatesta. 


Bel  -  la  sic-co  me  un  an  -  ge  -  lo!  In  terra  pel  le  -  gri  -  nol  Fre-sca  sic-come  il  gi  -  glio, 
Beau-teous      as    an  an  -  gel   born  I  Bright  as      dews  that  gem  the  earth  I     Fresh  as    the   li  -  ly     at  its  birth, 


■  no! 
\e  earth  I 


Che  s'a  -  pre  sul 
When   op'-ning  to 


mat  -  ti  -  no ! 
the     mom  I 


Oc  -  chio  che  par-la  e  ri  -  del 
Lov'd  eyes  that  speak  while  smil-ing! 


Sguar -  do 
Heart,  ev 


ch'i 
'ry 


cot  con  ■ 
heart  that 


chio  ma   che  vin-ce  1'  -  e-  ba-no!   Sor-ri     so    m-can-ta-tor,    sor  - ri-so  in-can-ta-torl 
flair  that  can  vie    with   eb  ■  o  -  ny  !  A  sweet  smile  might  Heav'n  adorn,a  smile  might  Heav'n  idem  J 


DON  PASQUALI 


Pat.    Sposa  simile!  oh  giubilo! 

Non  cape  in  petto  il  cor ! 
Mala.  Alma  innocente  e  Candida, 

Che  se  medesma  ignora, — 

Modestia  impareggiabile,— 
Dolcezza  che  innamora, — 

Ai  mi  sen  pietosa, 

Gentil,  buona,  amorosa ; 

II  Ciel  l'ha  fatta  nascere, 
Per  far  beato  un  cor. 
Pi*.    Famiglia — 
Mala.  Agiata,  onesta. 

Pa*.  Casato — 
Mala.  Malatesta ! 

Pat.    Sara  vostra  parente  * 
Mala.  Won  intenzione.]      Alia  lontana  mm  pi> } 

E  mia  sorella. 
Pat.  Oh,  gioja ! 

Di  piu  bramar  non  so  ! 

E  qnando  di  vederla  ? 

Qnando  mi  fia  concesso  ? 
Mala.  Domani  sul  crepnscolo. 
Pat.    Domani !    Adesso,  adesso  ! 

Per  carita,  Dottore ! 
Mala.     Frenate  il  vostro  ardore — 
Quetatevi— calmatevi : 

Fra  poco  qui  verra. 
Pat.  [Con  trasporto.]  Darvero  1 
Mala.  Preparatory 

E  re  la  porto  qua. 
Pat.  [Lo  abbraccia.] 

Oh,  caro  !  or  toste  a  prenderla ! 
Mala.  Ma,  udite — 
Pat.  Non  fiatate. 

Mala.  Ma— 

Pat.  Non  c'  «  raa,  volate, 

O  case©  morto  qua. 

[  GU  titra  la  bocca,  *  lo  tpinge  via. 


Pat.   A  wife  like  her  you're  drawn,  oh  joy !  oh  transport  I 

I  feel  my  bosom  cannot  hold  my  heart ! 
Mala.  A  soul  that's  innocent  of  guile, 
Unconsciously  perfection, — 
Modest  without  compare,  the  while,— 

Sweetness  that  wins  e'en  scorn,— 
Pity  the  wretched  showing, 
With  gentle  love  overflowing : 
By  Heaven  created  with  such  worth, 
To  bless  some  heart  forlorn. 
Pat.    Her  family — 

Mala.  Both  wealthy  and  respectable.  > 

Pat.    Ah !  of  the  house  of— 

Mala.  Malatesta ! 

Pat.    Is  she,  then,  your  relation  ? 

Mala.  IMeaningly.]  Distantly! 

That  is,  she  is  my  sister. 
Pat.  Oh,  what  joy  • 

More  I  can  never  wish  for ! 

But  when  shall  I  gaze  on  her  1 

When  of  such  bliss  the  donor ! 
Mala.  At  dusk  to-morrow  eve. 
Pat.    To-morrow  !    Why  not  now  1 

In  pity,  Doctor,  bow  ! 
Mala.     Bridle  your  ardor  warm — 
Quiet  yourself— be  calm  : 

She  soon  shall  come,  I  vow. 
Pat.  [In  transport.]  Come  in  reality ! 
Mala.  Prepare  yourself, 

And  I  mil  bring  the  lovely  creature  here. 
Pat.  [Embracing  him.\ 

Oh,  my  dear  feliow !  fly  like  wind  and  fetch  her. 
Mala.  But  listen  to  me — 
Pat.  Do  not  stay  to  talk. 

Mala.  But,  my  dear  Don — 
Pat.  But  me  no  buts,  but  fly, 

Or  I'll  fall  dead  as  stone  upon  the  spot. 

[Stops  hit  mouth,  and  pushes  km  mm 


AH,  UN  FOCO  INSOLITO—A  FIRE  ALL  UNFELT  BEFORE.    Solo.   Don  Pabqualb. 


Ah   un      fo  -  co  in  -  so  -  li   -   to,  Mi      sen  -  to  ad-dos  -  so :     O  -  mai 

A   fire,    all      un  -  felt    be  -  fert,  Burnt   in     my  heart's  core :    I  can 


re  -  si  -  ste  -  re- 
re  -  titt     no  more— 


lo  piu  non  pos  -  so.  Dell'  e  -  ta  vec  -  chia,  Scor  do  i  ma  -  la  -  •  ni,  Mi  sen  to 
rU  strive  no  long  -  er.  Of  old  age  en  -  fee  -  bling  me,  For  -  got      it     the   mit  -  e  -  ry,     Feel  -  ing  ttiQ 


gio  -  ri  -  ne —  Co-me  a  vent'  an  -  ni.  Dehf  ca-ra,  af  -  fret  -  ta 
young  to  be —  Than  twen-ty   much  ttrong-er.    Ah  1    hat  -  ten  speed  -  i 


ti,  Vie  -  ni      spo  -  si  - 
ly,  Sweet  lit  -  tie  bride,  to 


i 


Ec  co  di  bam  -  bo  -  li,  mez  •  za  doz  •  zi 
Dear  lit     tie     ba   •   biet,   we  Full  half    a  do 


na,  Gia  veg  -  go  na  -  see  -  re,  Gia  veg  •  go 
ten,  Then  we'll   have  born  to   me,  Grown  up  they 


ere  -  see  -  re,  A 
teem    to     be  All 


me  d'in  -  tor  -      -  no,     veg  -  go  scher-zar; 
sport  -  ing  round  my  knee,—  Sor  -  row  they'll  co  ■  ten, 


Veg  -  go     gia    na  •  see 
Grow*  up    they  teem    to  U 


DON  PASQUAL& 


7 


$iv  /in 


V«g  -  go  gi*  ere  -  see  -  re,  ▲  am  d'ia 
AO    sport   my     round  my    lam;   Qam    boi  i+g 


tor  -  -no 
f 1  -  out  ly, 


Veg  -  go     ichor  -  zar. 
Sot  -  row   they'll     eo  -  tm. 


Son  rinato  !    Or  si  parli  al  nipotino, — 

A  fare  il  cervellino, 
Veda  che  si  guadagna  ! 

[  Guarda  ndU  tctm. 

Eccolo  appunto ! 

SCENA  III.— Ebhbsto  «  detto. 

Pm,    Giungete  a  tempo  :  stava 

Per  mandarvi  a  chiamare.  Favorite — 
Em.    Sono  ai  voatri  comandi. 
Pern.    Non  vo'  farvi  uq  sermon©  : 

Vi  domando  un  minato  d'  attenzione. 

E  vero  o  non  e  vero 

Che,  saranno  due  mesi, 

Io  v'  offersi  la  man  di  una  atella 

Nobile,  ricca  e  bella  ? 
Em.    E  vero. 

Pa$.  Promettendovi  per  giant* 

Un  bnon  assegnamento,  e  alia  mi*  mora 
Quanto  possiedo  ! 
Em.  E  vero ! 

Pas.  [Minacciando.]  In  caso  di  rifuto, 

Diserodarvi,  e  a  torvi  ogni  speranza — 
Ammogliarmi,  se  e  d'  aopo  f 
En.  E  vero  1 

Pat.    Or  bene 

La  sposa  che  v'  offersi  or  son  tre  mesi, 
Ve  1'  offro  ancor. 
Em.  Non  posao :  amo  Norm*  ! 

La  mia  fede  e  impegnata  I 
Pat.    Si !  con  una  spiantata 

Con  uno  vedovella  civettina. 
Em.  [Con  colore. J 

Rispettate  ana  giovine 
Povera,  ma  onorata,  e  virtuosa. 
Pat.    Siete  proprio  deciso  ? 
Em.  Irrevccahilmente ! 

Pat.    Or  ben,  pensate 

A  trovarvi  an  alloggio. 
Em.    Cosi  mi  discacciate  ? 
Pat.    La  vostra  ostinatezza 

D'  ogni  impegno  mi  scioglie. 
Fate  di  provvedervi — Io  prendo  moglie ! 
Em.  [Nelle  massirna  sorpresa.  J       Prender  moglie  1 


Pat.  6i,  Signore ! 

Em.  Voi  1 

Pat.  Quel  desso  in  came  e  in  ossa ! 

Em.  Perdonate — lo  stupore  ! 


La  sorpresa  (oh  questa  e  grossa. ) 
Voi? 

Pat.  [Con  impazienza.]  L'  ho  detto  e  lo  ripeto  : 

Io,  Pasquale  da  Corneto,. 

Possidente,  qui  presente, 

Sano  in  corpo  e  sano  in  mente — 

D'  annunziarvi  ho  1'  alto  onore 

Che  mi  vado  ad  aminogliar. 
Km.    Voi  scherzate — 
Pat.  Scherzo  un  corno  ! 

Lo  vedrete  al  nuovo  giorno. 

Sono,  e  vero,  stagionato  ; 

Ma  ben  molto  conservnto — 

E  per  forza  e  vigorta 
Me  ne  sento  da  prentar 

Voi,  Signor,  di  casa  mia 
Preparatevi  a  sfrattar 


Yes,  I  am  born  again !    Now  for  mj  nephew, — 
By  playing  thus  the  careless  heedless  nairbrai*. 
See  what  it  is  the  wise  and  wary  gain  1 

[Looking  •/ 

Ah  !  here  the  very  man  comes,  apropos  ! 

SCENE  HI.— Ekksst  and  Don  Pjlsqualb 

Pat.    You  are  jast  come  in  time,  sir  :  I  was  going 
To  send  to  summon  you.    Do  me  the  favor — 

Em.    Believe  me,  sir,  that  I'm  at  your  command. 

Pat.    I  am  not,  sir,  about  to  preach  a  sermon  : 
I  do  but  ask  a  minute's  brief  attention. 
Pray,  is  it  true,  or  is  it  not  true,  sir, 
That  by  the  calendar,  just  two  months  since, 
I  offer'd  you  the  hand  of  a  young  lady — 
Noble  and  rich,  and  beautiful  withal 1 

Em.    'Tis  true. 

Pat.  Promising  to  make  you,  in  addition, 

A  good  allowance  now,  and  at  my  death 
Whate'er  I  might  possess  of  goods  and  chauau 

Em.  'Tis  true ! 

Pat.  [Menacing.]  In  case  of  your  refusal  to  accede, 
Disinherit  you,  cat  off  all  hope, 
Marry  a  wife  myself,  if  I  thought  fit  ? 

Em.  'Tis  true ! 

Pat.    Now,  then, 

The  wife  I  offer'd  yon,  now  three  months  siiu* 
I  offer  yon  again. 

Em.  I  love  Norma  ! 

My  faith  is  pledg'd  eternally  to  her  ! 

Pat.    Yes !  to  one  of  ruin'd,  desperate  fortune- 
To  one,  a  little  vain  coquettish  widow. 

Em.  [Warmly.] 

Respect  a  young  unblemish'd  female,  sir  : 
Poor,  it  is  true,  but  honor'd,  sir,  and  virtu  3  as 

Pat.    Have  you  thoroughly  decided  ? 

Em.  Irrevocably 

Pat.    Now,  then,  hear  my  decision,  sir  ;  and  think 
Of  straightway  finding  for  yourself  a  lodging 

Em.    Do  you,  then,  drive  me  from  your  favor  thus 

Pat.    Your  stubborn  headstrong  obstinacy,  sir, 

Removes  all  claims,  dissolves  all  ties  between  a> 
Provide,  sir,  for  yourself — I  take  a  wife  ! 

Em.  [In  the  greatest  surprise.]       Take  a  wife,  sii  1 

Pat.  Yes,  signor. 

Em.    You  1 

Pat.  I,  myself,  in  bone  and  body  ! 

Em.    Pardon  me — I'm  in  amazement ! 

This  is  a  surprise,  (the  precious  noddy.) 

You? 

Pat.  [Impatiently.]  I  have  said  it — I  repeat  it- 
I,  Pasquale  of  Corneto, 
Proprietor,  here  present  stated, 

Sane  in  body,  in  mind  ditto- 
Announce — you'll  duly  estimate  it — 

I  marry  shall  without  delay. 
Em     You're  playing  on  me — 
Pat  On  the  horn  ! 

You'll  to-morrow  morning  see. 
I  am,  'tis  true,  of  age  mature,  sir  ; 
But  well  preserv'd,  and  shall  endure,  sir— 
For  strength  and  sprightliness  be  sure,  sir 

I've  enough,  and  some  to  spare. 
As  for  you,  sir,  leave  my  house,  sir — 

Yes.  to  tramp,  decamp,  prepare. 


8 


DON  PASQUALE 


Km       (CS  volea  questa  mania 

I  miei  piani  a  rovesciar.) 
Sogno  soave  e  casto 
De  miei  prim'  anni,  addio  1 
Se  ambii  ricchezze  e  fasto 
^u  sol  per  te,  ben  mio. 
Fovero,  abbandonato, 
Cadnto  in  basso  stato, 
Pria  che  vederti  misera, 
Cara,  rinunzio  a  te. 

Pas       Ma  veh  che  originate — 
Che  taaghero  ostinato ! 
Adeaso,  manco  male 
Ei  par  'capacitate. 
Ben  so  dove  gii  duole 
Ma  e  desso  che  lo  mole ; 
Altri  che  se  medessimo 
Egli  incolpar  non  de. 

Em.  [Dopo  breve  pausa.] 

Dae  parole  ancor  di  volo. 

Pas.  Son  qui  tutto  ad  ascoltarri 

firm-       Ingannar  si  puote  an  solo. 

Ben  fareste  a  consigliarvi— 
II  Dottore  Malatesta 
E  persona  grave,  onesta. 

Pas.       1/  ho  per  tale. 

f$rn.  Consnltatelo. 

Pas.       E'  gia  bello  e  consultato. 

4'rn.       Vi  sconsiglia1 

Pas.       Anzi  al  contrario— 

Mi  felicita,  e  intantato. 

Em.  [Colpitissimo.] 

Come  !  come  !  oh  questa  poi 

Pas.  \Confidenzialmente.] 

Anzi,  a  dirla  qui  fra  noi 
La — capite— la  Zitella  : 
Ma  silenzio — e  sua  sorella 

Em.  [Agitatissimo.] 

Sua  sorella — che  mai  sento  1 
Del  Dottore  ? 

Pas.  Del  Dottore ! 

Em.       (Oh,  che  nero  tradimento ! 
Ahi,  Dottore  senza  corl) 


Pas 


Em. 

Pas. 
Em. 


Pas 

Em. 
Pas 
Em 
Pas 


Pas. 


Em. 


Pas. 

Em. 


(His  mania  comes,  my  hopes  to  banish— 

Comes,  to  ruin  all  my  plans.) 
Sweet  holy  dreams  I  loved  to  cherish 
Of  early  youth,  adieu !  ye  vanish ! 
If  I  e'er  long'd  for  riches,  splendor, 
It  was  but  for  thee,  belov'd ; 
But  now,  poor  and  abandon'd,  I, 
Reduc'd  from  my  condition  high, 
Sooner  than  thee  in  misery  see, 
Dearest,  I'll  renounce  thee. 
Now,  here's  an  original — 
Obstinate,  wrong-beaded ! 
Now,  better  (it  was  needed) 
He  seems  dispos'd — I  prayM  it. 
I  know  what  'tis  he's  dreaded ; 
But  that  is  what  I  wanted : 
Others  he'd  have  supplanted 
Should  not  by  him  accused  be. 
[After  a  short  silence.] 
Two  words  more,  sir,  I'll  speak  briefly 

I  am  ready,  sir,  to  listen. 
One  deceives  oneself,  sir,  chiefly. 

To  a  friend  for  counsel  hasten — 
Haste  to  Doctor  Malatesta : 

He's  a  person  grave,  trustworthy. 
So  I  think. 

Consult  him  better. 

That,  thoroughly,  is  done  already. 

And  there's  no  doubt  he  dissuades,  sir 1 

On  the  contrary,  he  aids,  sir — 

Wishes  me  joy,  is  quite  enchanted. 
[Much  struck.] 

How !  how  !  what's  this  ?  has  he  recanted  1 
[In  a  confiding  tone.] 

Between  ourselves,  don't  split  upon  her— 
The,  the — you  understand — young  Donna 
She  is  his  sister — mind,  now,  honor  ! 

[Extremely  agitated.] 
His  sister — hear  I  aright  ?  the  Doctor  t 
Of  the  Doctor  ? 

Of  the  Doctor ! 
(Ah,  what  dark  and  fatal  treason, 
Heartless  Doctor,  to  betray  me !) 


MI  FA  IL  DESTIN  MENDICO — A  BEGGAR  HAS  FATE  NOW  MADE  ME  Erhmto 


Mi  fa 
A  beg 


1^4 


il  destin  men-di  -  co 
gar  has  fate  now  made  me 


per  -  do  co  hi  che  a  -  do  -  ro  in  chi  credeva  a  - 
and   her   I  must  lose  my  ador'd  one  !  He    whom    I  tho't  to  b& 


mi -co  ah 
friend  me,  ah. 


dis  -  copro  un  tra  -  di-tor 
I  find  out  him  a  traitor 


m 


d'ogni  con-for  -  to  pri  -  vo 
Bent  of  each  joy  of  na  -  ture 


— /—. 
mi  se-ro  a  che  pur-vi  -  vo 
Why  seek  to  live  t  Ah!  me  I 


m 


ah   non  si   da  mar-to  -  ro 
Hov  eon   I  bear   a  -  gainst  it  t 


equal  al  mio  mar-tor 
Unheard  of  mi  -  se  -  ryi 


d'o 
Bent 


gni  con  -  for  -  to  pri  •  vo  ml 
of  each  joy   of  na  -  ture,  Whsj 


V— W— 0- 


mm 


se-ro    a  che  pur  vi-vo, 
seek    to  live  t  ah.  ne  t 


ah!. 
How 


non  si  da  mor-tor  e  -  gua  -  le  eguale,  a  mio  mar  -  tor. 
can  I  bear  against  it  f  Unheard      of   unheard  of  mi  -  se  -  ryl 


DON  PASQUALR 


0 


Pms  [A  parte.  ]  L'  amico  e  Dello  e  cotto, 
In  sasso  par'  cambiato  ! 
Non  fiata !    Non  fa  motto — 
L'  affoga  il  cropacuor. 
Si  rod  a  :  gli  sta  bene 
Ha  quel  che  gli  conviene ! 
Impari  lo  sventato 
A  fare  il  beJlo  amor  !  |  Entramb*  via. 

8CENA  IV.— Stanza  in  Ca»a  di  Norina. 
Entra  Norina,  con  un  libra  in  mono,  leggendo 

Nor.       "B  tamo  era  in  quel  gtiardo 
Saper  di  Paradiso  : 
Che  il  cavalier  Ricciardo 

Tutto  d'  Amor  conqaiso 
Al  pie  le  cadde,  e  a  lei 
Eterno  amor  giurb !" 


Pas.  [Aside.]  Our  friend  indeed  seems  sorely  tried  : 
As  stone  he's  almost  petrified  ! 
He  scarcely  breathes,  and  speaks  still  less  — 
He's  suffocated  with  distress. 
Well,  let  him  fret :  it  serves  him  right — 
He  has  what  he  deserves  to-night ! 
And  let  the  wilful  fellow  learn 
His  friends'  opinions  not  to  spurn. 

SCENE  IV.— An  Apartment  in  the  House  of  Norixm 
Enter  Norina,  with  a  book  in  her  hand,  reading. 

Nor.    "  So  much  that  glance  revealing, 
Of  Paradise  was  telling  : 
Ricciardo  impelling 

To  own  a  8  conqueror,  Love  ! 
To  that  sweet  maiden  kneeling, 
He  swore  he'd  faithful  prove  !" 


50  ANCH'  10  LA  VIRTU— I,  TOO,  THY  MAGIC  VIRTUES.    Sojlo.  Norina. 


anch  io  la  vir  -  tu  ma  -  gi  -  ca,  D'un  guar  -  do  a  tern  -  po  e  lo  -  co, 
I,     too,  thy   ma  •  gic     vir  -  tues  know,    Of  glance  wdl  tim'd   and  ten  -  der, 


So  anch'  io  co  -  me  si 
A      gen  -  tie  smile,  bom 


bra  -  cia  •  no, 

to    be  -  guile, 


I  co  -  ri  a  len  -  to  fo  -  co!  D'un  bre  -  ve  sor  -  ri  -  set-to,  Conoscoanch'iol'ef 
JT  know — an  old   of  -  fend-er  !       A     gen  -  tl*  smile,   born      to  beguile,   I  know — an  old  of 


q± 


0  0 


fet  -  to ! 
fend-er! 


Di  men  -  zog-ne  -  ra,  la  -  gri  -  ma,  D'un  su  -  bi  -  to  languor, 
A      hid-dtn  tear,   a      languor  near,  A     lan  -      -  guor....  near, 


Co  -  no-sco  i  rail  -  le 
2"  know  the  mode,  ok 


mo  -di, 
dear, 


Dell'  a  -  mo  -  ro  -  se  fro  -  di 
Of  love's   be  -  witch-ing  wiles, 


vez  -  zi  e  Tar  -  ti  -  fa  -  ci  -  li, 
His     fa  -  cUe    arts  and  guiles  

ft 


Per 
To 


de  -  sca-re  un  cor, 
lure   with  wan  -  ton  smiles, 


D'un  bre  -  ve  sor 
A     gen  •  tie  smile 


ri  -  set  -  to, 
bom     to  be -guile, 


Co  -  no  -  sco  anch'io  l'ef 
I  know  an   old  of 


fet  -  to, 
fend  er, 


Co   -    no  -  sco, 
I      know  too. 


co  -  no  -  sco, 
/      know  too, 


un  su  -  bi  -  to  lan  -  guor. 
I      know    the  modes,   oh,  dear 


Ho  testa  balzana — 
Son  d'  indol  vivace  : 
Scherzare  mi  piace, 
Mi  piace  brillar. 
Se  vien  la  mattana, 
Di  rado  sto  al  segno 
Ma  in  riso  lo  sdegn: 
Fo  presto  a  cambiar. 
E  il  Dottor  non  si  vede 
Oh,  che  impazienza 


I've  a  giddy  head,  I  fear — 

Mine  s  a  disposition  gay  : 
In  harmless  folly  I  delight. 

But  I'd  shine  in  fashion's  ray. 
Approach  should  melancholy, 

I  scarcely  can  myself  contain  ; 
But  anger  to  laughter 
I  change  quickly  after. 
My  friend  the  Doctor  makes  not  his  appeamae* 
Oh,  how  impatient — anxious,  too,  T  am. 


10 


DON  PASQUALE. 


Del  romametto  ordito 

A  gabbar  Don  Pasquale  ! 

OncP  ei  toccommi  in  fretta : 

Poco  o  nulla  ho  capito,  ed  or  1'  aspetto. 

Entra  un  Servo,  le  porge  una  Letter  a,  ed  etc*, 
flier,  ( Guardando  alia  soprascritta.] 

La  man  d'  Ernesto  !    Io  tremo  ! 

[Legge,  da  cenni  di  sorpresa,  pot  di  costernaxtime.. 
Oh,  me  raeschina  ! 

SCENA  V.— Malatbsta  «  Nobina. 

Mala.  [Con  allegria.]    Buone  nuove,  Norma  ! 

il  nostra  stratagemma — 
Nor.  \Con  vivacita.]  Me  ne  lavo  le  mani. 
Mala.  Come  !  che  fa  ? 
Nor.  [Porgendogli  la  Letter  a.  \  Leggete  ! 
Mala.  [Leggendo.]  "  Mia  Norina, — Vi  scrivo, 

Colla  morte  nel  cor.    (Lo  farem  vivo.) 

Don  Pasquale  aggirato 

Da  quel  furfante — (grazie  !) 

Da  quella  faccia  doppia  del  Dottore, 

Sposa  una  sua  sorella  : 

Mi  scaccia  di  sua  casa — 

Mi  disereda  in  somma  !    Amor  m'  impone 

Di  rinunziare  a  voi. 

Lascio  Roma  oggi  stesso,  e  quanto  prima 

L'Europa.    Addio,  siate  felice  !  Queato 

El'  ardente  mio  voto  :  il  vostro  Ernesto." 

Le  solite  pazzie ! 
Nor.  Ma,  s'egli  parte  ! 

Mala.  Non  partira — v'  accerto  :  in  quattro  salti 

Son  da  lui  della  nostra 

Trama  lo  metto  a  giorno,  ed  ei  rimane  ; 

E  con  tanto  di  cor  ! 
Nor.  Ma  questa  trama  : 

Si  pub  saper  qual  sia  ? 
Mala.  A  punire  il  nepote 

Che  oppone  le  sue  voglie, 

Don  Pasqual  s'  e  deciso  a  prender  moglie. 
Nor.    Gia'  mel'  diceste. 

Mala  Or  ben,  io  suo  Dottore, 

Vistolo  cosi  fermo  nel  proposto, 

Cambio  tattica  e  tosto, 

NelP  interesse  vostro,  e  in  quel  d'Ernesto, 

Mi  pongo  a  secondarlo. — Don  Pasquale, 

Sa  ch'  io  tengo  al  convento  una  sorella, 

Vi  fo  passer  per  quella  ! 

Egli  non  vi  conosce,  e  vi  presento 

Pria  ch*  altri  mi  prevenga ; 

Vi  vede  e  resta  cotto. 
91  or.  Va  benis8imo. 

Mala.  Caldo !  caldo  !  vi  sposa  :  ho  prevenato 

Car  lotto,  mio  cugino, 

Che  fara  da  notaro  ;  al  resto  poi — 

Tocca  pensare  a  voi. 

Lo  fate  disperar. — II  vecchio  impazza, 

L'abbiamo  a  discrezione — 

Allor— 
Nor.  Baata — ho  capito  ! 
Mala.  Va  benone. 

Nor.    Pronta  son  ;  purch'  io  non  raanchi 

A1P  amor  dell  caro  bene, 

Faro  imbrogli — faro  scene, 

Mostrero  quel  che  so  far. 
Mala.  Voi  sapete  se  d 'Ernesto 

Sono  am  ico,  e  ben  gli  voglio  ; 

Solo  tendo  il  nostra  imbroglio 

Don  Pasquale  a  corbellar. 
Nor.    Siamo  intesi— or  prendo  Pimp  egno. 


For  the  romance  his  wisdom  has  projected 
To  hoax  the  sapient  worthy  Don  Pasquale  ! 
Of  which  the  Doctor  gave  me  a  small  hint : 
I  scarcely  understand  it — I  wait  for  him. 

Enter  a  Servant,  who  gives  her  a  Letter,  and  goes  out. 
Nor.  \ Looking  at  the  address.] 

The  hand  of  Ernest !    I  tremble  with  alarm  ! 
[Beads,  and  shows  manifest  sighs  of  fear  and  turprxm 
Ah,  unhappy  me ! 

SCENE  V.— Malatbsta  and  Nobina. 

Mala.  [Gaily.]    Good  news,  Norina  ! 

Our  strategem — 
Nor.  [Hastily.]  I  wash  my  hands  of  it. 
Mala.  How !  what  is  it  you  are  telling  me  ? 
Nor.  j  Giving  him  the  Letter.]  Read  !  read  ! 
Mala.  [Reading.]  "  My  dear  Norina, — I  write  to  yon, 

Death  in  my  heart.    (I'll  bring  him  soon  to  life. ) 
My  uncle,  Don  Pasquale,  influene'd 
By  that  vile  rogue — (A  hundred  thousand  thankn  ' 
That  double-fac'd  old  hypocrite,  the  Doctor, 
Marries  a  sister  of  this  specious  villain  : 
Me  he  drives  forth,  in  anger,  from  his  house — 
In  short,  he  disinherits  me  !    Love  commands, 
Imperatively,  that  I  should  renounce  you. 
I  shall  leave  Rome  to-day,  and,  soon  as  possible. 
Quit  Europe  too.    Adieu,  be  happy !  This 
Is  my  most  ardent  wish  :  yours  ever,  Ernest." 
The  usual  follies ! 
Nor.  Ah,  but  if  he  goes ! 

Mala.  He  will  not  go — I  say  so  :  in  four  skips 
I  shall  be  with  my  gentleman.    Then  our 
Rare  plot  I'll  let  him  into,  and  he'll  stay  ; 
Ay,  and  with  all  his  heart,  too  ! 

But  this  plot : 

May  I,  pray,  be  allowed  to  know  what  it  is  f 
To  punish,  as  he  thinks,  his  graceless  nephew, 
Who  dares  rebelliously  oppose  his  wishes, 
Pasquale  has  resolv'd  to  take  a  wife. 
You  told  me  so  before. 

Well,  this  Doctor, 
Seeing  he's  so  firm  in  this  idea, 
Have  changed  my  tactics,  and  soon — very  soon 
For  your  own  interest,  and  for  that  of  Ernest, 
I,  to  begin  with,  second  him. — Don  Pasquale, 
Knowing  that  I  have  a  sister  in  a  convent — 
Why,  I  intend  to  pass  you  off  for  her ! 
He  does  not  know  you,  and  I  shall  present  yon 
Before  by  others  I'm  anticipated  ; 
He  sees  you,  and  he's  done  for. 
Excellent ! 

Hot !  hot !  I  wed  you  to  him  :  I've  prepared 
That  clever  fellow  Charles,  my  trusty  cousin, 
To  play  the  notary ;  and  for  the  rest — 
Why  all  the  rest  will  rest  with  you,  that's  all. 
You  drive  him  to  despair — old  fool,  distracted 
He  then  will  be  completely  at  our  mercy, 
Then— 

I  understand — enough ! 

Nought  can  be  better. 
I'm  ready — anything — so  I  lose  not 
The  love  of  my  ador'd  one.    My  belov'd, 
I'll  make  perplexities — will  fashion  scenes  ;— 
In  short,  I  soon  will  show  what  I  can  do. 
You  know,  and  can  of  Ernest  tell, 
If  I'm  a  friend,  and  wish  him  well ; 
Our  plot  but  tends,  you  may  believe, 


Nor. 
Mala. 


Nor. 
Mala 


Nor. 
Mala 


Nor. 
A  da. 


Mala. 


Nor. 


Don  Pasquale  to  deceive. 
We're  quite  agreed,  and  I' 


m  enlisted. 


DON  PASQUALE. 


13 


tfaia.     Io  la  parte  ecco  v'  insegno. 
Nor.      Mi  volete  fiera,  o  mesta  ? 
Mala      Ma  la  parte  non  e  qacsta. 
Nor.      Ho  da  pianger — da  gridar  ? 
Mala      State  un  poco  ad  ascoltar  ; — 

Convien  far  la  semplicetta. 
Nor.       Posso  in  questo  dar  lezione.  '  Contraffacendo. 

"  Mi  vergogno — son  zitella — 

Grazie — serva — Signor,  si." 
Mala      Brava,  brava,  bricconeella  ! 

Va  benissimo  cosi. 
Nor.       "  Collo  torto."  [Coiitraffacendo. 
Mala      Bocca  stretta.  [Contraffacendo. 
Nor.       "  Mi  vergogno." 
Mala      Oh  benedetta !  va  ben  issimo  cosi ! 

Or  si  vada,  or  andate 

A  quel  vecchio,  affe,  la  testa, 

Questa  volta  ha  da  girar. 
Not        Gia  1'  idea  del  gran  ciraento, 

Mi  raddoppia  V  ardimento ; 

Gia  pensando  alia  vendetta, 

Mi  comincio  a  vendicar  ; 

Una  voglia  avara  e  cruda 

I  miei  voti  invan  contrast*. 

Io  T  ho  detto  e  tanto  basta, 

La  saprb,  la  vo  spuntar. 
Mala.     Poco  pensa  Don  Pasquale, 

Che  boccon  di  temporale, 

Si  prepari  in  questo  panto 

Sul  suo  capo  a  rovinar. 

Urla  e  fischia  la  bufera  : 

Vedo  il  lampo,  il  tuono  ascolto 

La  saetta  fra  non  molto, 

Sentiremo  ad  iscoppiar. 

FINK  dell'  atto  pkm© 


ATTO  II. 

HCENA  1. — Salone  parapettato,  addobato  eon  mduu  t*agm~ 

hcenza  ed  eleganxa. 

Ernesto,  solo. 

Povero  Ernesto  !  dallo  zio  cacciato, 

Da  tutti  abbaTidonato, 

Mir  estava  un  amico 

E  un  coperto  nemico, 

Dis  copro  in  lui 

Che  a'  danni  miei  congiiira  : 

Perder  Norina  !    Oh,  Dio  ! 

Ben  feci  a  lei  d'  esprimere 

In  nn  foglio  i  sensi  miei : 

Ora  in  altra  contrada, 

I  giorni  grami  a  trasci  nar  sivada. 


|  Mala.  Tour  part  by  me  must  Do  assisted. 
:  Nor.    Would  you  have  me  gay  or  tearful  * 
Mala.  The  part  is  neither  sad  nor  cheerful. 
Nor.    Have  I  then  to  weep — to  scold  ? 
Mala.  Listen,  and  you'll  al!  be  told  ; — 

You  must  play  simplicity. 
Nor.    I'll  lessons  give — leave  that  to  me.  Artme 

"  I'm  so  confused — I'm  young,  you  know — 

Thank  you — Your  servant, — Yes,  sir, — Oh  !" 
Mala.  Bravo,  bravo,  capital ! 

It  can't  be  better — all  goe3  well ! 
Nor.    Head  turned  aside — "  Oh  fie !  oh  fie  !"  [.Acting 
Mala,  Pursed-up  mouth — Ashamed  am  I.  [.drti*? 
Nor.    "  I'm  quite  confus'd,  my  thoughts  take  wing — " 
Mala.  Oh,  clever  creature !  just  the  thing  ! 

[Together.] 

What  a  fine  game ! — all  that's  farther  remaining 
Must  now  be  arranged, — our  wishes  obtaining 
Of  this  old  fool,  all  sense  who  spurn'd  ; — 
This  time  the  head  will  be  quite  turn'd. 

Nor    Th'  idea  of  this  enterprise 

Fresh  courage  to  my  heart  supplies  ; 

Already  of  my  vengeance  dreaming, 

I  seem  revenged — such  joy's  in  scheming — 

A  cruel  avaricious  soul 

In  vain  my  wishes  shall  control — 

I  have  said  it — it  suffices — 

I  know  how  to  cure  his  vices. 

Mala.  Little  thinks  poor  Don  Pasquale 
What  a  wordy  tempest  really 
Is  preparing  at  this  moment, 
To  rush  upon  him  for  his  torment : 
The  whirlwind  howls — spreads  fear  and  wonder 
I  see  the  lightning,  hear  the  thunder — 
The  thunder-bolt,  before  long,  all 
Will  hew  in  bursting  vengeance  fall. 

END  OF  THE  FIRST  ACT. 


ACT  II. 

SCENE  I. — A  prepared  Saloon,  furnished  with  the  utmem 
magnificence  and  elegance. 

Ernest,  alone. 

Poor  Ernest  I !    Turn'd  out  by  my  uncle, 

By  all  abandon'd ! 

Even  he,  whom  I  believed  to  be 

An  earnest  friend  to  me, 

I  now  discover 

To  be  my  secret  enemy  ! 

Lose  Norina !  oh,  Heavens ! 

'Tis  well,  that  in  a  letter 

To  her  I  have  my  soul  unburden'd. 

I  shall  now  in  another  country 

Spend  my  weary  days. 


CERCHERO  LONTANA  TERRA— I  SHALL  SEEK  A  FAR-OFF  SPOT.  Erhesto. 

Cer-che-ro  Ion  -  ta  -  na  terra  do-ve  ge-mex  sco  -  nos  -  ciu  -  to,  lk  vi-vrb  al  cuo-reii 
I  thaU  teek   a  far  -  off      tpet      wker*  me     me         on  my  grief  in  -  trudeth-  •     tMen  Til  ekerioA  but  me 


DON  PASQUALE. 


0 — 1 

« — 0 — _ — - 

0~~?* 

gaerra  de  -  plo  -  rando  il  ben  per  -  da  -  to  de  -  plo  -  rando  il  ben  per  -  da 
thought  of  the  faithless  one  who  left  me,  of  the  faith-less  one  who  left 
0-  -0-.  m  '  ~-0-  -0- 


to 

met 


Ma  ne 
Not  the 


sor  -  te  a 
tricks  of 


ne 

cret 


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qn=tz 


mi  -  ca  ne  frap  -  pos  -  ti,  mon  -  ti  e 
enemies    will     dis  •  turb  there  the  current  cf  m% 


V  7  7  -EE 


mar,  ti  po  -  tran-no  dol-ce  a  -  mi  ca 
thoughts,  nor  ef-face  thy   charming  pic-ture, 


dal  mio  co  •  re, 
sweet  No  -  ri  -  na, 


can  -  eel  -  lar 
in     my   heart  I 


Non  -  ti  po 
No,  not  the 


tit*  >  '  n  it  \%t%iK^m 

tranno  dal  raio  co  -  re  can  -  cel-lar  non  -  ti    po  -  tran-no   car'   a  -  mica  dal  mio  co-re  can-cel-lar. 
tricks  of    cm  -  el    en'mies  will  disturb   the   cur-rent    of  my  tho'tt,  nor  darken  thy  sweet  picture  in  my  heart ! 


E  SE  FIA  CHE  AD  ALTRO — IF  ONE  DAY  PERHAPS  YOU  FALTER.  Eknbsto. 

-A 


E 
Xf 


se 
one 


fia  cbead  al  -  troog  -  get  -  to 
day  per  -  haps     you         fal  •  ter 


tu 
In 


ri 
the 


vol  -  ga  un  gior  -  no  il 
love     to       me  you 


i 


co-re  Se  nasi  fia  che  un  al  -  tro  af-fet-to  spenga  In  te  Panti  -  co  ar  -  do  -  re  non  te 
cherish     1  shaU  grieve  not,  heart*  may  al-ter,   Fondest       love  map  wane  and  per  -  ish,     Fear  mjr 

»    0       M  0  


mer  cheun  in  -  fe  -  li  -  ce  te  sper  -  ginra  ac  -  ca  -  si  al  ciel  se  tu 
curs  es      not,  for      nev-er,    by  th'  of  -  fee    -    turn    J     once  bore  thee  shall  I 


sei  ben  mio  fe 
curse  thee;  if  we 

-0-* 


li-ce 
sev  -  er 


sa  -  ra 
May  be 


pa-go  il  tao  fe  -  del  sa  -  ra  pa  -  go  il  too  fe  -  del  sa  -  rm 
hap   -    pi-ness    be  -  fore  thee,  may    be      hap  -  pi   -  ness     be  -  fore  thee,  may  be 

.0-0..    -0.   -0-  _    -0-  -0 


pa  -  go  il  tao  fe  -  del  sa  -  ra 
hap  -piness    be  -  fore  thee,  may  be 


pa-go    il  tao    fe    -    del,      se  ta    sei   ben  mio 
hap    -  pi  -  ness   be   -  fore  thee  I  If  we    sev  -  er    sweet  No 


li  •  ce 
ri  -  no, 

£3= 


mor  -  ra 
may  be 


pa  -  go 

hap  - 


il 

-  pi 


tuo  fe  -  del  si  mor  -  ra 
ness     be    ■  fore   thee,   may  be 


pa  -  go 

hap  -  pi 


ra 

be 


3^ 


-0:0-  -0. 

■UL  1- 


for* 


go 


thee. 


il    tao   fe    •    del,         11  too  fe 

be    hap  -  pi   -   ness  be  •  fore  thee,    hap-pi  -   ness  be   -  fore 


del. 
thee! 


DON  PASQUALE. 


18 


Don  Pasqoalv,  in  gran  gala,  msguUo  da  un  Servo 

Pas  [Al  Servo.) 

Qaando  avrete  introdotto 

II  Dottor  Malatesta,  e  chi  e  con  lai, 

Bicordatevi  bene — - 

Nessuno  ha  piu  da  entrar :  guai  se  lasciate 

Rompere  la  consegna !  Adesso  andate.    {Servo  via. 

Per  un  uom  sui  settanta — 

(Zitto,  che  non  mi  senta  la  sposina)— 

Convien  dir  che  son  lesto  e  ben  portante 

Con  qnesto  boccon  poi 

Di  toillete — [Si  pavoneggia] — alcun  viene 

Eccoli  1    A  te  mi  raccomando,  Iniene  ! 


9CENA  II. — Entra  Dottore  Ma  latest*    eonduemndo  pmr 
mano  Nobjna,  velata. 

Mala.  Via  da  brava ! 

Nor.  Reggo  appena: 

Tremo  tntta ! 
Mala.  V  inoltrate ! 

[Nell*  otto  che  il  Dottore  fa  inoltra  Norina,  acc*n*a  ax 
mano  a  Pasquale  di  metterti  i*  dxsparU  Pasgw. 
«'  rincantuccia. 
Nor.    Ah,  fratel,  non  mi  lasciate ! 
Mala.  Non  temete ! 
Nor.  Per  pieta — 

[Appena  Norina  e  sul  davardi  dm  proseonit,  il  Dotu 
corre  a  Pasquale. 
Mala.  Fresca  uscita  di  conveuto, 
Natnrale  e  il  turbamento : 
E  per  tempra  un  pb  selvatica ; — 
Mansuefarla  a  voi  si  sta. 
Nor.    Ah  fratello ! 

Mala.  Un  sol  moment©— 

Nor.    Se  qnalcnn  venisse  a  an  tratio — 

(Sta  a  vedere,  vecchio  matto, 

Ch'  or  ti  servo  come  va!) 
Pom.   Mosse,  voce,  portamento 

Tutto  e  in  lei  semplicita ! 

La  dichiaro  nn  gran  potent©, 

Se  risponde  la  belta ! 
Nor.    Ah,  fratello ! 
Mala.  Non  temete ! 
Nor.    A  star  sola,  mi  fa  male  ! 
Mala.  Cara  mia,  sola  non  siete, 

Ci  son  io,  c'  e  Don  Pasquale. 
Nor.  [Con  terrore.]  Come — un  uomo  1 

Ah  me  meschina ! 

Presto  andiam — fuggiam  di  qua  I 
Pat.    (Com'  e  cara  e  modes tina 

Nella  sua  semplicita !) 
Mala.  Quella  scaltra  melandrina 

Impazzire  lo  fara.)  [A  N*^> 

Non  abbiate  paura,  e  Don  Paaquale, 

Padrone  e  amico  mio, 

II  re  dei  galantuomini. 
[Don  Pasquale  ti  confbnde  in  inehsm  :  Norma 
guarda. 
Mala.  [A  Norina.] 

Rispondote  al  saluto  * 
Not .  \Fa  la  reverenza  tenza  guardar  Don  PamptaU.  I 

Grazie — serva,  Signore. 
Pa»    ( Che  bella  mano !) 
Mala  ( E'  gia  cot  to  a  quest*  ora !) 
Nor.  (Oh,  che  baffiaao  !) 

[Ikrn  Patquale  dispone  tre  mom  ;   uimitm  Lkxu* 
mezzo. 
Mala.  [A  Pasquale.] 

Che  ne  dite  * 


Enter  Don  Pasquale,  in  grand  costume,  follow  I  by  a  Servant 

Pas.  [To  Servant.] 

When,  on  his  coming,  yon  hare  introduc'd 
Doctor  Malatesta,  and  she  who  will  be  with  him, 
Remember  well — let  there  be  no  mistake- 
No  one  admit :  woe  to  von  if  yon  let 
Any  one  enter  !    Now  then,  vanish.    [Erit  S*nxna 
Come,  for  a  man  that's  turn'd  of  seventy — 
(Softly,  I  must  not  lot  my  intended  hear)— 
All  must  allow  at  least,  I'm  well  and  active, 
And  with  this  taking — this  killing  style 
Of  dress — [Parading  about] — hut  caution,  ther*  u 

some  6ne  coming  ; — 
They're  here  !    To  thee  I  yield  myself,  oh,  Love  1 

8CENE  II.— Enter  Doctor  Malatesta,  leading  it.  Noi:>4, 
veiled. 


Ua 


on 


Mala.  Come  on, — take  courage 
Nor. 

I'm  trembling  all  over ! 
Mala.  Come 


I  can  scarcely  stand 


advance ! 

[At  the  moment  that  the  Doctor  leads  Norina  forward,  4* 
makes  a  sign  with  his  hand  to  Don  Pasquale  to  faL 
back.    Don  Pasquale  shrinks  into  a  corner. 
Nor.    Ah,  my  brother,  do  not  leave  me  thus  ! 
Mala.  Do  not  fear,  trembler ! 
Nor.  In  pity,  brother — 

[Norina  has  scarcely  reached  the  front  of  the  stage  b*fr»- 
the  Doctor  runs  to  Don  Pasquale. 
[To  Pasquale.]  Newly  coming  from  a  convent, 
Natural  is  her  confusion  : 
By  nature  she's  a  little  shy  ; — 
You  will  mould  her,  by-and-by. 
Ah,  my  brother ! 

But  a  moment — 
But  think,  should  any  one's  intrusion— 
(You  shall  soon,  you  old  fool,  see 
How  I  mean  your  heart  to  torment!) 
Air,  voice,  and  gesture,  all  agree, — 
All's  in  her  simplicity  ! 
She'll  shine  all  prodigies  beyond, 
If  beauty  does  but  correspond ! 
Ah,  brother ! 

Do  not  be  afraid  ! 
But  by  myself  to  stay — a  maidl 
My  dear  girl,  you'll  not  be  alone  ! 
Here '8  myself,  and  here's  the  Don. 
How  !    Oh,  my  virgin  heart !  a  man  I 
How  dreadful,  nothing  beat  it  can  ! 
Let's  go  directly — fly  this  place ! 
How  charming,  modest,  is  the  grace 
Of  her  sweet  simplicity. 
Mala.  (This  cunning  wicked  little  one 

Will  drive  him  mad  before  she's  done.)  [To  Norma. 
Fear  nothing,  it  is  only  Don  Pasquale, 
A  patron  and  a  friend  of  me  and  mine, 
Who  long  has  reigned  the  king  of  all  good  fellows 
I  Don  Pasquale  makes  a  profusion  of  bourn ;  Norma  dom 
not  look  at  him. 
Mala.  [To  Norina.] 

Why  do  you  not  acknowledge  his  salute* 
.Vut    |  Curtsies,  without  looking  at  Don  Pasquale.] 

Thank -ye,  I'm  much  obliged — your  humble  »er»aai 
(Oh,  what  a  dear  delicious  little  hand  1) 
( His  goose  is  cooked  alreadv ! ) 

'  (What  a  blockhead  I) 
(Don  Pasquale  arranges  three  chairs;  theg  sit  domm.  uh 
Doctor  in  the  middle. 
Mala.  [To  Pasquale.] 

Now,  candidlv.  what  do  voa  say  to  her  • 


Mala. 


Nor. 

Mala. 

Nor. 


Pas. 


Nor. 
Mala. 
Nor. 
Mala. 

Nor. 


Pa* 


fas. 

Mala. 

Nor. 


14 


DOH  PASQUALE. 


Pa*.  (E'  on  incanto — ma  quel  velo—) 

Mala.  Non  oseria,  son  certo, 

A  sembiante  scoperto 

Parlare  a  an  uom.    Prima  1'  interrogate ; 

Vedete  se  nei  gusti  y'  incontrate, 

Poscia  vedrem — 
Pa*    (Capisco; — Andiara,  coraggio  [A  Norina. 

rosto  ch'  ho  1'  avvantaggio — 

imbrogiia. 

Anzi  il  Signor  fratello, 

II  Dottor  Malatesta — 

Cioe — volevo  dir — 
Halo.  (A  Norina.]  (Perde  la  testa  !) 

Rispondete ! 
N* .  [Facendo  la  Riverenxa.] 

Son  serva  !  mille  grazie ! 
Pa*.  [A  Norina.] 

Volea  dir  ch*  alia  sera 

La  signora  altera  la  compagnia 
Nm.    Niente  affatto.    Al  convento 

Si  stava  sempre  sole. 
Pat.    Qualche  volta  al  teatro  < 
Nor.    Non  so  che  oosa  sia,  ne  saper  bramo 
Pas.    Sentimenti  ch'  io  lodo, 

Ma  il  tempo  uopo  e  pas  sari  o  in  qualcha  mode. 
Nor.    Cacire,  ricamar,  far  la  calzetta, 

Badare  alia  cncina ; 

II  tempo  passa  presto. 
Mala.  (AhMalandrina!) 
Pas.  [Agitandosi  sulla  sedia.J 

Fa  propria  al  caso  mio. 

i  Al  D-tor*. 

IQuei  vei  per  carita !) 
A  Norina.]  Cars  Sofroni*, 

Limovete  quel  velo. 
Nor.  [  Vergognosa.]  Non  oso — in  faccia  a  an  uom. 
Mala.  Ve  lo  comando. 

Nor.    Obbedisco,  fratel.  [Si  login.  U  velo. 

Pa*.  [Dopo  aver  la  guar  data,  levandon  *  tm  tratto,  eaando 
addietro  come  spaventato.] 
Misericordia ! 
Mala.  [Tenendogli  dietro.] 

Chefu?  dite:— 
Pa*.    Una  bomb  a  in  mezzo  al  core. 

[Agttattmmo. 

Per  carita,  Dottore. 
Ditele  se  mi  mole : 
Mi  mancan  le  parole — 
Sudo,  aghiaccio— son  motto  1 
Mala.  [Piano,  a  Don  Pasquale.]       /Fat*  oere! 
Mi  sembra  ben  disposta  :  or*  le  parlo. ) 

[A  Norina,  p*an*. 

Sorellina  mia  cara : 
Dite,  vorreste — in  brave, 

Qnel  8 ignore.  [Aetmna  Dm  Pasquals. 

Vi  piace  1 

Nor.  [  Con  un  occhiata  a  Don  Pasquale,  eh*  n  nngalvjaa.  j 

A  dirlo  ho  soggezione. 
Mma.  Coraggio! 

Nor.  [TimidamenU.]  Si-    ( 8ei  pure  il  gran  babbtoa* ! ) 
Mala.  [Tornando  a  Don  Pasquale.] 

Consente :  e  vostra  ! 
Pa*.  |  Con  transporta.]  Oh,  gittbilo  ! 

Beato  me! 
Nor.    (Te  n'  arvedrai  fra  pooo  ! ) 
Pas.    Or  presto  pel  Notaro ! 
Main   Ho  tolto  meco  il  mio  ch'  e  in  aaric— a 

Or  1'  introduce.  J  **» 

Pa*.  Oh  caro ! 

Quel  Dottor  pensa  a  tutto  ' 
Mala,  [Rtentrando  col  Notaro.]  Ifrxx)  U  Nouux  1 


Pa*.  (She's  a  complete  enchantress, — but  that  veil  — ) 
Mala.  She  would  not  dare,— of  that  I  am  quite  certain, 

She  is  so  shy — with  an  uncover'd  face, 

To  speak  to  a  live  man.    First  question  hei  , 

See  if  your  tastes,  your  sentiments  agree ; 

Then  to  behold- 
Pat.    I  understand  ; — Come,  courage.  [To  Norwm 

Since  I  have  the  favor — the  advantage,  Miss — 

[Confuses  himndf 

As  my  esteemed  friend,  the  Signor,  your  brother, 

Your  worthy  brother,  Doctor  Malatesta — 

That  is — I  mean  to  say — 
Mala.  [To  Norina.]  (He's  lost  his  senses  !) 

Reply ! 
Nor.  [Curtsying.] 

Your  servant,  Sir  !    A  thousand  thanks ! 
Pas.  [To  Norina.] 

I  meant  to  say  that  in  the  evening,  Miss — 

For  the  young  lady,  doubtlessly,  likes  company— 
Nor.    Oh,  not  at  all !    In  fact,  sir,  at  the  convent, 

We  always,  all  of  us,  remain'd  alone. 
Pa*.    Well,  but  you  sometimes  wish'd  for  the  theatre  ' 
Nor.    I  don't  know  what  that  is,  and  don't  desire. 
Pa*.    Sentiments  that  I  highly  must  approve  ; — 

But  one  must  pass  the  time  some  way  or  other  ? 
Nor.    In  sewing  and  embroidery ;  knitting  stockings ; 

Superintending,  too,  'tween  whiles,  the  kitchen. 

Time  passes  quickly  then. 
Mala.  (Ah,  wicked  baggage  1) 

Pa*.  [Moving  in  his  chair,  j 

The  very  thing  for  one  in  my  condition  ! 

[Tothe  Doetm 

That  veil,  for  pity's  sake — 
Mala.  [To  Norina.]  My  dear  Sophronia 

Remove  that  veil — remove  that  envious  veil ! 
Nor.  [Bashfully.]  Before  a  man  !  I  dare  not! 
Mala.  I  command  yon  ! 

Nor.    I  obey,  brother :  there,  sir !  [Take*  off  her  tml. 

Pa*.  [Having  looked  at  her,  springs  up  suddenly,  and  gom 
back  as  if  Jrightened.] 

Mercy  on  me ! 
Mala.  [Holding  him  back.] 

That  sudden  start — those  words !  what  was  it  1  say  1 
Pa*.    A  bombshell  in  the  centre  of  my  heart. 

[Extremely  agitaUd. 

In  charity — for  mercy's  sake,  dear  Doctor ! 

Do  only  ask  her  if  she  will  but  have  me . 

I  want  words,  Doctor — I'm  spiflicated — 

I  flush— I  freeze — dumbfounder'd  quite ! 
Mala.  [Low,  to  Don  Pasquale.]       (Take  heart! 

She  seems  dispos'd  to  favor  you  :  I'll  speak  to  her.) 

[To  Norina,  in  a  low  vote*. 

Hear  me,  my  darling  little  sister : 

Say,  candidly — say,  would  you  like,  in  short, 

That  gentleman.  [Pointing  to  Don  Patquml*. 

Think  well — how  does  he  please  you  ? 
Nor.  [  With  a  glance  at  Don  Pasquale,  who  show*  his  delight.  | 

I  feel  inclin'd  to  say  I  think  he  does. 
Mala.  Courage,  Sophronia! 
Nor.  [Timidly.]  Yes.    (The  great  baboon  !) 
Mala.  [Turning  to  Don  Pasquale.] 

You  hear,  Don :  she  consents — she's  yours ! 
Pa*.  I  With  transport.]  Oh,  joy ! 

Oh,  happy,  happy  man  !  bless'd  that  I  am  i 
Nor.    (I  will  convince  you  of  your  bliss,  ere  long ! ) 
Pa*.    Now,  quickly  for  the  Notary,  dear  friend ! 
Mala.  I  have  brought  mine — he's  in  the  anti-chamber 

I'll  straightway  introduce  him  here.  (  Km* 

Pa*.  Delightful ! 

The  Doctor  thinks  of  everything ! 
Mala.  [B*-*mt*ring  with  th*  Notary.  \       The  Notary  1 


DON  PASQUALE. 


15 


SCENA  II.— Notaro  «  ditto. 

Don  Pasquale  e  Norina  seduti. — /  servi  ditpongono  in 

mezzo  alia  Scena  un  Tavolo  coll'  occorrente  da  scrwere :  sopm 
il  Tavolo  sard  un  rampanello. — Notaro  saluta,  siede  e  r" 
accinge  a  scrivere ;  Dottore,  in  piedi,  a  destra  del  Notaro, 
com*  dettandoglt 

Mala.     Fra  da  una  parte — et  cetera, 

Sofronia  Malatesta, 

Domiciliata — et  cetera ; 

Con  tutto  quel  che  resta 

E  d'  altra  parte — et  cetera. 

Pasquale  da  Corneto, 

Coi  titoli  e  le  formole 

Secondo  il  consueto : 

Entrambi  qui  present!, 

Volenti,  e  consenzienti, 

Un  matrimonio  in  regola, 

A  stingere  si  va ! 
Pm.  [Al  Notaro.]  Avete  messo  * 
Vc«.  Ho  meuo. 

Pa*.       Sta  ben  !  [  Va  alia  mntstra  dd  Natarv 

Scrivete  appresso —  [  Com*  d*tt*msh. 

II  qua  prefato — et  cetera, 

Di  quanto  egli  possiede— 

In  raobili  ed  irnmobili — 

Dona — tra  i  vivi— e  cede, 

A  titolo  gratuito, 

Alia  suddetta — et  cetera, 

Sua  moglie  dilettissima, 

Fin  d'  ora,  la  meta. 
Nat.       Sta  scritto. 

Pom.  E  intende  ed  ordfau 

Che  sia  riconosciuta 

In  questa  casa  e  fuori, 

Padrona,  ampia,  assoluta, 

E  sia  da  tutti  e  singoli, 

"Di  casa  riverita — 

Servita— ed  obbedita, 

Con  zelo  e  fedelta. 
Mala.  0  Nor.  [A  Don  Pasquale.  \ 

Rivela  il  vostro  core 

Quest  atto  di  bonta. 
Nat.       Steso  h  il  contratto :  restano 

Le  firme — 

Pas.  [Sottoscrivendo  con  vivacita.  j  Ecco  La  mi*  J 
Mala.  [  Conducendo  Norina  al  tavolo,  con  dole*  moimws.  | 

Cara  sorella,  or  via 

Si  tratta  di  segnar ! 
Not.       Non  vedo  i  testimonii  : 

Un  solo  non  pud  star. 
[Mentre  Norina  sta  in  atto  di  sottoscrivert,  st  sent*  la  voce 

di  Ernesto  dalla  porta  (T  ingresm :  Norma  latcta 

coder  la  penna. 
Em.  [Di  dentro.]  Indietro,  mascalzoui  ! 

Indietro,  io  voglio  entrar  : 
Nor.       (Ernesto  !  or  veramente 

Mi  viene  da  tremar!) 
Mala.      (Pub  tutto  rovinar!) 

SCENA  III  —  Eutbito,  «  dtttL 

Ernesto,  senza  badare  agli  altrx,  vu  dritm  a  Dm*  Pom- 

quale. 

In.  (i  Pasquale,  con  vivaciia.] 

Pria  di  partir,  Signore, 

Vengo  per  dirri  addio  : 

E  come  a  un  malfattore, 

Mi  rien  couteso  entrar. 
Pas    [A  Ernesto.] 

8'  era  in  faccende — giunto 


SCENE  II.— The  Notary,  and  the  others 

Don  PaSQUALK  and  No  a  in  A  seated. — Servants  arrange  im 
the  middle  of  the  Stage  a  Table,  with  uniting  materials  . 
upon  the  Table  is  a  Bell. —  The  Notary  bows,  leasts  htmiif, 
and  begins  to  write ;  the  Doctor  standing  to  the  right  of  du 
Notary,  as  if  dictating  to  him. 

Mala.      Between,  on  one  part — et  cetera, 

Sophronia  Malatesta, 

Residing  at — et  cetera ; 

And  all  remainders  over  : 

And  on  the  other  part — et  cetera, 

Pasquale  of  Corneto, 

With  titles  and  formulas 

From  custom  immemorial . 

Both  of  them  being  present, 

And  willing  and  consenting, 

A  marriage  legal,  valid, 

Are  going  now  to — cancel ! 
Pa*.  [To  the  Notary.]  Have  you  written  1 
Not.  I  have  written. 

Pa*.       Very  good!  [Goes  to  the  left  of  the  Ncsurm 

Ton,  then,  will  write,  now —        \As  if  dirt\*my 

The  aforesaid  Don — et  cetera, 

Of  whatever  he  is  possess'd — 

Moveables  and  immoveables — 

Gives — being  of  sound  life— and  cedes. 

As  his  own  free  act  and  gift, 

To  the  above  nam'd — et  cetera, 

His  beloved  wife  delectable, 

From  this  time,  an  equal  half. 
Nt.      It  is  written. 

Pms.  And  he  wills  and  order* 

That  she  shall  farther  be  acknowledged 

In  this  house  ;  and  when  not  in  it, 

The  mistress  wholly,  absolute 

And  by  all,  herself  shall  be, 

In  the  house,  paid  reverence  due— 

Serv'd  by  all — by  all  obey'd 

With  zeal  and  with  fidelity. 
Mala.  4-  Nor.  [To  Don  Pasquale.] 

In  this  you  truly  show  your  heart— 

This  spontaneous  act  of  bounty. 
Net.       The  contract's  drawn :  there  but  remain 

The  signatures — 
Pa*.  [Signing  eagerly.]     Here's  mine ! 
Mala.  [Drawing  Norina  to  the  table  with  gentle  comfn***— 

Dearest  sister,  now  come,  thine  ; 

For  thou  must  be  the  next  to  sign  1 
Not.       I  do  not  see  the  witnesses  : 

One  alone  will  not  suffice. 
[  While  Norina  is  in  the  act  of  signing,  the  von*  #  lb 

nest  is  heard  from  the  outer  door:  Norma  *ms  *» 

pen  fall. 

Em.  [  Within.]  Back,  villains  !  back,  I  say  t 

I  enter  will — give  way ! 
Nor.       (Ernest !   I  really  don't  dissemble  : 

In  earnest  I  begin  to  tremble  I ) 
Mala.      (He  may  all  to  ruin  bring !) 

SCENE  HI — E&nest,  and  the  rw*. 

Ernest,  without  attending  to  the  other*,  got*  strata*  i»  urn 

Pasquale. 

Em.  [To  Don  Pasquale,  warmly.] 

Ere  I  finally  take  wing, 

I  came  here,  sir,  adieu  to  say 

Wh«n,  like  some  malefactor,  thet 

Would  from  your  doors  drive  me  away 
Pa*   [To  Ernest.] 

We  were  engag'd — your  coming,  thong  h, 


16 


DON  PA8QUALB 


Perb  voi  siete  in  panto : 
A  fare  II  matrimonio, 
Mancava  an  testimonio. 

[  Volgendoei  a  Norma. 

Or  venga  la  sposina. 
Em.  [  Vedendola,  nel  massimo  stupore.] 

(Che  vedo  ?    Oh  Ciel,  Norma  ! 
Mi  sera  bra  di  sognar !) 

\Esptodendo. 

Ma  qnesto  non  pn5  star 
Costei  ? 

\Il  Donor e  che  in  qnesto  frattempo  n  tars  interposta  fra 
Don  PasquaU  e  Ernesto,  interrompe  quest*  ultimo. 
Mala.  La  sposa  e  quella 

[  Con  mtenzione  marcata. 

Sofronia,  mia  sorella ! 
Em.  [Can  sorpresa  crescenUA 

Sofronia  !  sua  sorella ! 

Comincio  ad  impazzar ! 
Mala.  [Piano,  ad  Ernesto.] 

(Per  carita,  sta  zitto  ! 
Ci  vuoi  precipitar.) 

\  Piano,  a  PasquaU 

Gli  caoce — compatitelo : 
Lo  vd  capacitar. 

[Prende  Ernesto  in  disport* 

Figliuol,  non  farmi  scene 
E  tutto  per  tuo  bene. 
Se  vuoi  Norina  perdere, 
Non  hai  che  a  seguitar. 

[E, 

Seconda  la  commedia, 
Sta  cheto,  a  lascia  far. 

[  Volgendost  alia  Ci 
Qnesto  contratto  adunque 
Si  vada  ad  ultimar. 
[Dottore  conduce  a  sottoscrivere  prima  Norma,  pot  Er- 
nesto quest'  ultimo,   meta    per  amor*,    metm  per 
forza. 

Nat.  [Rxunendo  le  mani  degli  sposi.] 

Siete  marito  e  moglie. 
Pas.       Mi  sento  a  liquefar. 

|  (Va  U  bello  a  commindar !) 

|  Append  segnato  il  contrattoi  Norina  prtnde  un  centegne 
naturaU,  ardito  senza  impudenza :  t  pseno  att  dutn- 

voltura. 

Pes   IFacendo  I'  otto  di  volerla  abbracciare..  J   Carin*  ' 
Vor   [Rispingendolo  con  dolcezza.] 

Adagio  an  poco  ; 

Calmate  qael  gran  foco — 

Si  chieda  pria  licenza. 
Pm.  [Con  sommessione.] 

Me  T  accordate  « 
Nor.  [Seccamente.]  No. 

[Qui  il  Notaro  si  ritira  inotstrvate     Dmm  Pasqnais  n- 

mane  mortificatissimo. 
Km.  Utidendo.]  Ah  !  ah  ! 
Pas.  [Con  coUera.J  Che  c'  e  da  ridera, 

Signore  impeninente  1 

Partite  immantiuente, 

Via,  fuor  di  casa — 
Nor.  [Con  disprezzo.]  Oibo  ! 

Modi  villani  e  rustici 

Che  tollerar  non  so.  I A  Armesto 

Restate!    \A  Don  PasquaU.)  La 
Apprender  vi  saprb. 

Pas.  [Conxtemato  al  Dottore.} 

Dottore ! 
Mala.  |  Come  sopra.  I 
Pa*        £'  an  altra  ! 


Don  rtktqaaic 


Is,  ne'ertheless,  most  apropos : 
My  happy  marriage  to  complete, 
One  witness  more,  it  seems,  is  meet. 

[  Turning  to  Ne 
Advance,  my  bride.    (He  has  not  seen  her.) 
Em.  [Seeing  her,  in  the  greatest  amazement.] 

iWhat  do  I  see  *    Great  Heavens,  Norina  ! 
t  seems  like  some  wild  dream  to  me ! ) 

|  Breaking 

But  I'm  deceived — it  cannot  be. 
Who's  this  « 
|  The  Doctor,  who  has  by  this  time  placed  himself 
Don  PasquaU  ana  Ernest,  interrupts  the  latter. 
Mala.  This  lady  is  the  bride. 

[  With  marked 
Sophronia,  sister  dear,  my  pride  ! 
Em.  j  With  increasing  surprise.] 

Sophronia  !  she  his  sister — she  ! 
I  feel  that  soon  I  mad  shall  be  ! 
Mala.  [Aside,  to  Ernest.\ 

(For  mercy's  sake,  be  silent,  pray ! 
You'll  ruin  all,  if  more  you  say.) 

[Aside,  to  Pamsmmis. 
He's  wretched — pity  on  him  take  : 
I  will  persuade  him  to  submit. 

[Takes  Emm  asmm 
My  son,  a  scene,  pray,  do  not  make  : 

All  this  is  for  your  benefit. 
If  you  wish  to  lose  Norina, 
You  have  only  to  proceed. 

[Ernest  tries  to  speak 
Assist  us  in  this  comic  scena — 
Peace  let  us  manage — 'twill  succeed. 

[Turning  round  to  the  Servants 
This  contract — all  his  folly  past — 
We're  going  to  conclude  at  last. 
[  The  Lector  conducts,  first  Norina,  to  affix  her 

turt ;  ttten,  jxirtly  by  persuasion  and  partly  be  /*rm, 
Ernest. 

Not.  [Joining  the  hands  of  the  married  couple.] 

You  are  husband,  now,  and  wife. 
Pas.       I  feel  I'm  melting !    Mine,  for  life ! 

^Mala^  \  ^e  *)68t  Part'8  6°mS  to  commence ! 

[Tne  contract  has  hardly  been  signed,  when  Norma  r» 
sumes  her  natural  manner:  her  self-possession  <m 
ease,  without  boldness. 

Pas.  [Attempting  to  embrace  her.]  My  dearest ! 

Nor.  [Repulsing  him  gently.] 

Softly,  have  some  sense ; 
Calm  your  great  ardor,  sir,  you  most- 
Embrace  !    You  should  have  ask'd  leave  first 

Pas.  [Submissively.] 

You'll  giant  it  me,  now  mine  yon  are  1 

Nor.  [Drily.]  No. 

[Here  the  Notary  retires  unobserved.  Don  Pasqnai*  i>. 
mains  much  mortified. 

Em.  [Laughing A  Ha!  ha!  ha!  ha!  ha!  ha!  ha! 

Pas.  [Angrily?]  What  is  there  to  laugh  at,  pray, 
Impertinent  young  jacanapes  t 
Hence  directly,  go  away 
Out  of  my  house,  quick,  or  perhaps — 

Nor.  [Contemptuously.]  Fie  upon  you — no  reply — 
What  uncouth,  rude  manners — fie ! 
I  tolerate  them  can't — not  I.  [To  Emmm 

Remain  !    [To  Don  Pasquale.]  Good  manners, 

Signor,  which  you 
So  want,  I  shall  know  how  to  teach  you. 

Pas.  \Jn  consternation,  to  the  Doctor.] 
Doctor !  Doctor ! 

Mala.  [Also  in  consternation.]    Don  Pasqoale  ! 

Pas.       Whv.  she's  another— 


DON  PASQUALE 


17 


Mala. 

Pas. 

Mala 


Nor. 


Pm 

Nor. 
Pom. 
Nor. 
Pom. 
Nor. 


Son  di  sale ! 
Che  vorra  dir  ? 

Calmateri, 
Scntire  mi  forb. 
Mala,  e  Nor.  (In  fede  mia,  dal  ridere, 
Frenarmi  piil  non  so.) 
[A  Don  Pasquale.]  Un  uom  qual  voi  deorwpito, 
Qual  voi  pesanto  e  grasso, 
Condur  non  pub  nna  giovine 
Decentemento  a  spasso — 
Bisogno  ho  d'  un  bracciere — 

[Aecmmanao  Ernesto. 

Sara  mio  cavaliere. 
[Con  vivacita.)  Oh !  questo  poi,  scusatemi  : 

Oh  questo  esser  non  pub — 
Freddamente.]  Perche  ? 
f&soluto.]  Perche  non  voglio. 

Con  scherno.J  Non  lo  volete  « 
Come  sopra.]  No! 
Facendosi  presto  la  Pasquale,  con  dolcsaxa  affeuata.  ] 
Vis  cere  mie,  vi  supplico  ! 

[  Con  en  fan  crescents. 

Voglio,  per  vostra  regola — 
Voglio,  lo  dico  io  sola — 
Tutti  obbedir  qui  devono, 
Io  sola  ho  a  comandar  ! 
Mala.     Ecoo  il  moment©  critico  ! 
Em.       Lo  stretto  da  passar  ! 
Pas.       Ma  se — 
Nor.       Non  voglio  repliche. 
Pas.  \Accennando  Ernesto.)  Costui — 
Nor.  [Istizzita.]  Taci,  buffone  ! 

[Don  Pasquale  fa  per  pariar*. 
Zitto  !  provato  a  prendeni, 
Finora  ho  colle  buone, — 

[Facendoglisi  presso  con  minaona 
Saprb  se  tu  mi  stuzzichi, 
Le  mani  adoperar ! 

[Don  Pasquale  da  indsetr* 

iSogno  ?    Veglio  *    Cos'  e  stato  « 
}alci — Schiaffi — brava  !  bene  ! 
Buon  per  me  che  m'  ha  avvisato, 
Or  vearem  che  cosa  viene  1 
Che  t*  avesse,  Don  Pasquale, 
Su  due  piedi  ad  ammazzar  ! 
E  rimasto  la  impietrato — 
Vegli,  o  sogni  non  sa  bene. 
Sembra  un  uomo  fulminato, 
Non  ha  sangue  nelle  vene. 


Pas. 


Nor. 
Em. 
Haia. 


[A  Don  Pasquale. 


Fate  core  Don  Pasquale, 

Non  vi -state  a  s  go  men  tar. 
Nor.      Or  1*  amico,  manco  male, 

Incominci  a  indovinar. 
[Norina  va  al  tavalo,  prende  il  campaneile,  <  mmm  con 

violenza. — Entra  un  Servo. 
Nor.  [An  Servo.]  Riunita  immantinente, 

La  servitu  qui  voglio.  |  Servo  soot 

Pas.       [Che  vuol  dalla  mia  gente  !) 

'  |  (Or  nasce  un  altro  imbroglio  !) 

Entrant)  due  Servi  e  un  Maggiordonw. 

Nm   [Ridendo.]  Treintutto!  va  benissimo, 
C  e  poco  da  contar. 

A  voi — [Al  Maggioxbmo.] — da  quaato  Minbnum, 
Voi  siete  il  maggiot  iomo  ? 

[Maggiordomc 

Ora  attendete  agli  ordini 
Che  jui  dispongo  a  dar : 
Di  servitu  r  ovella 


Nor. 


Pas 

Nor. 
Pas. 
Nor. 
Pas. 
Nor. 


Mala.  What  a  change  ! 

Pas.    What  does  she  mean  1 
Mala.  Hush,  not  a  wot  4 ! 

Very  soon  I  will  be  heard. 

Nor.  In  trutL,  *rom  laughing,  without  pain, 
Longer  I  cannot  refrain. 

[  To  Don  Pasquale  ]  A  man  decrepit,  Don,  m  yoo, 
As  heavy  and  a*  fat,  sir,  too, 
Cannot  take  out  a  young  lady 
Decently  to  walk,  that's  clear ; — 
A  young  man's  arm  I  must  have  ready — 

[Pointing  to  Ernom 

He  shall  be  my  cavalier ! 

[  With  vivacity.  I  Oh !  as  to  that,  excuse  me  there 
That  can  never  be,  my  life — 
[  Coldly.  ]  Why  not,  husband  ?    Do  you  dare  ! 
[Resolutely.]  Because  I  will  not  have  it,  wife ! 
[Scornfully.)  You  will  not  have  it,  husband  1 
[As  before.]  No  ! 

[  Going  close  to  Don  Pasquale,  with  affected  fondness  J 
Love,  I  implore  you,  don't  say  so  ? 

[  With  increasing  vekememn 
I  unll,  then,  for  your  regulation — 
I  will,  for  I  can  speak  alone — 
That  all  obey,  whate'er  their  station — 
All  here  my  sole  command  must  own ! 
Mala.  Now  comes  the  critical  moment — fates  ! 
Ern.    Now  comes  the  passage  of  the  straits ! 
Pas.    But  if— 

Nor.  I'll  have  no  answering. 

Pas.  [Pointing  to  Ernest.)  He— 

Nor.  [Enraged.]  Silence,  buffoon!  peace,  instantly  ! 

[Don  Pasquale  tries  to  tpomk 

Be  quiet !    I  have  tried  with  you, 
Gentle  means,  sir,  hitherto, — 

[  Going  up  to  him  with  a  menacing  gesture 
I  shall  now,  should  you  provoke, 
Use  my  hands — it  is  no  Joke ! 

[Don  Pasquale  recoils,  thunderstruck 
Dream  I  ?    Sleep  I  ?    What's  amiss  ! 
Backs — cuffs  :  good — a  fine  pretext — 
'Tis  well  she  warn'd  me  has  of  this — 
We  shall  see  what's  coming  next  1 
I,  Don  Pasquale,  she'd  think  meet 
To  trample  underneath  her  feet  ! 
He  stands  quite  petrified,  and  seems — 
To  know  not  if  he  wakes  or  dreams  ! 
He's  like  a  man  by  lightning  struck  : 
No  drop  of  blood  runs  in  his  veins. 

[To  Don  PasquaL 
Take  heart,  Pasquale,  my  old  buck, 

Don't  be  discouraged — use  your  brains. 
Now,  then,  at  least,  my  worthy  friend, 
You  must  begin  to  comprehend. 
[Norina  goes  to  the  table,  takes  the  bell,  and  rings  with  ro» 
lence. — Enter  a  Servant. 
Nor.  [To  Servant.]  Assembled  instantly,  d'ye  hear, 

I  will  have  all  the  household  here  !  [Exit 
Pas.    (What  with  my  people  want  can  she  *) 

^Ern     \  (Now  another  hreoze  there'll  be!) 

Enter  two  Servants,  and  Major -Dome. 

Nor.  [Laughing  ]  Three  in  all!  most  excellent ! 
Not  many,  it  is  true,  to  count 
You,  sir — (To  the  Major-Domo.) — as  far  m  I  mi 
The  Major-Domo  seem  to  be  ? 

[Major  Dom* 
Now,  then,  my  orders  you'll  receive, 
Which  I  prepar'd  am  here  to  give : 
New  servant*  a  sufficient  set. 


Pas. 


Nor. 
Ern. 
Mala 


Nor. 


18 


DOM  PJSQUALK. 


Pensate  a  prowedermi — 

Sia  gente  rresca  e  bell*, 

Tale  da  farci  onor. 
Pat.  [A  Norina,  con  rabbia.] 

Poi  quando  avra  finito — 
Nor.       Non  ho  finito  ancor. 

\M  Mogpswtbme. 

Dei  legni  an  pajo  sia 

Stasera  in  scuderia  : 

Qaanto  ai  cavalli  poi, 

Lascio  la  scelta  a  voi. 

La  casa  I  mal  disposta, — 

La  vo  rifar  di  posta : 

Sono  anticaglie  i  mobili — 

Si  denno  rinnovar. 
Pa*.  [Con  rabbia  ooruentrata. ] 

Avete  ancor  finito  * 
Nor  [Seocamente.]  No  !  [AI  Maaptordomo. 

Mi  scordavo  ii  meglio — 

Fate  le  cose  in  regola, — 

Non  ci  facciom  burlar. 
[D*un  cenno   congeda   U   Maggtordoimo   cm   part*  cm 

Servi. 

Pms,  Grazie ! 

Chi  paga  ? 
Nor.       Oh  bella,  voi ! 
Pat.       A  dirla  qui  fra  noi, 

Non  pago  mica ! 
Nor.  No  1 

Pat.  [Riscaldato.]  Sono,  o  non  son  padrone  * 
Nor.  [Con  forza.] 

Padrone  !  ov'io  coraando ! 
Mala.  [Interponendosi  a  Norina.]  So  re  11* — 
Nor.       Or  or  vi  mando. 

j  A  Don  Pasquale,  em  furtA  ermemtu. 

Siete  un  villano,  un  tanghero  ! 
Pat.  [Con  dispetto.]  E  vero — v'ho  sposato  ! 
Nor  [Come  sopra.]  Un  pazzo  temerario. 
Mala.  [A  Don  Pa$quale,  che  tbuffa.\ 

Per  carita,  cognato. 
Nor.       Che  presto  alia  ragione 

Rimettere  sapro. 
Put.  [E  fuori  di  se,  vorrebbe  e  non  put  pmrian,  it  but  P 

affoga.} 

Son  tradito,  calpestato, 
Son  di  riso  a  tutti  oggetto  ; 
Quest'  inferno  anticipate, 
Non  lo  voglio  sopportar  * 
Dalla  rabbia  e  dal  dispetto 
Sto  vicino  a  sofFocar ! 
Nor.  [A  Ernesto.]  Or  t'  avvedi,  core  ingr*», 
Che  fa  ingiusto  il  tuo  sospetto  : 
Solo  amor  m'  ha  consigliato 
Questa  parte  a  recitar. 

[Accennando  Don  Pamruai*. 
Don  Pasquale,  poveretto, 
E  vicino  ad  affogar ! 
fen.  [A  Norina.)  Sono,  o  cara  sincerato  : 
Momentaneo  fu  il  sospetto. 
Solo  amor  t'  ha  consigliato 
Questa  parte  a  recitar. 

[Accennand*  Do*  PasouaU. 
Don  Pasqaale,  poveretto, 
E  vicino  ad  affogar ! 
MtJa.  [A  Don  Pasquale.]  Siet  e  un  poco  riscaldaio — 
Don  Pasquale,  andate  a  letto. 

[A  Norina,  com  nmprovmro. 
Far  soprusi  a  mio  cognato, 
Non  lo  voglio  sopportar  : 
[Agii  Amanti,  coprendoli  perch*  Don  Patquai*  mm  k 
vmda. 


Bethink  yon,  you  for  me  must  get- 
Servants  young — good-looking,  too, 
That  may  do  us  honor  due. 

Pot.  [In  a  rage.] 

When  you've  finish'd,  you'll  permit — 

Nor.    I've  by  no  means  finish'd  yet. 

[To  the  Ma)*  -Dmmt 

Of  carriages,  mind,  two  at  least 

This  eve  must  in  the  coach-house  be  : 
As  for  the  horses  and  the  rest, 

I  shall  leave  the  choice  to  thee. 
The  house  most  vilely  is  arrang'd, — 
I'll  alter  it  now  I'm  located : 
The  furniture  is  antiquated — 
All  must  instantly  be  chang'd. 
Pa*.  [  With  concentrated  rage.] 

Have  you  done,  or  have  you  not ! 
Nor.  [Snappishly.]  No!  [To  the  Majm  Dmmt, 

The  chief  thing  I'd  forgot — 
Do  all  things  in  the  greatest  style, — 
We  must  not  have  the  vulgar  smile. 
[She  dismisses  the  Major- Domo  by  a  gesture — k*  fom  ojf 
with  the  Servants. 
Pa*.  Thanks ! 

But  who's  to  pay — say  who  ? 
Nor.    Excellent  indeed  ! — Why,  you  ! 
Pa*.    If  I  the  truth  must  let  you  know, 

I  will  not  pay  a  farthing ! 
Nor.  '  *No? 

Pa*.  \  With  heat.]  Am  I  or  not  the  master  here  1 
Nor.  [Energetically.] 

Master  where  I  command  !  you  jeer ! 
Mala.  [To  Norina.]  Sister — 
Nor.    We'll  by  and  by  confer. 

[To  Don  Pasquale,  with  grounm,  f—y 
You  are  a  clown,  a  clodpole,  sir ! 
Pa*.  [Bitterly.]  That's  very  true — I've  married  yoa  ! 
Nor.  [A*  be)  'ore.]  Madman  rash,  and  stupid  too. 
Mala.  [To  Don  Pasquale,  who  is  foaming  with  rags.. \ 

ferother-in-law,  a  word  in  season. 
Nor.    Whom  very  shortly  to  his  reason 

I  know  a  way  again  to  bring. 
Pas.  [In  a  transport  of  passion,  tries  to  speak,  but  commit,  mm 
rage  suffocating  him.] 
I  am  betray'd,  trod  down  and  beat, 
A  laughing-stock  to  all  I  meet ; 
This  Tartarus,  before  its  time, 
I'll  not  support — what  is  my  crime  ? 
Oh  1  with  mingled  rage  and  spite 
I  am  suffocating  quite  ! 
Nor.  [To  Ernest.]  Now  you  see,  ungrateful  heart, 
How  unjust  was  your  suspicion  : 
Love,  to  bring  him  to  submission, 
Counseled  me  to  play  this  part. 

[Point*  to  Don  PamfuaU 
Don  Pasquale,  poor  dear  wight, 
Is  nearly  suffocated  quite ! 
Em.  |  To  Norxna.]  I  am  justified,  dear  heart  ; 
Momentary  my  suspicion. 
Love,  to  bring  him  to  submission, 
Counsell'd  thee  to  play  this  part. 

[Point*  to  Don  Pamtumst 
Don  Pasquale,  poor  dear  wight, 
Is  nearly  suffocated  quite ! 
Mala.  [To  Pasquale.]  You're  a  little  heated,  real  y  — 
Do  go  to  bed,  dear  Don  Pasquale. 

[To  Norina,  in  a  torn*  %f  nprvqf 
On  my  brother-in-law  to  play 
Thus,  I'll  not  endure,  I  say ! 
[To  the  Lovers,  who  are  standing  to  that  Dmm  Pmtomm 
mux*}  not  see  them. 


Don  pasquaix 


10 


fUgttnacci,  ma  eospetto, 
Non  vi  state  a  pates ar  ! 


runt  dkix'  atto  ii. 


8UI7  chits !  for  Heaven's  sake,  pray, 
Don't,  I  beg,  yourselves  betray ! 


MWD  OF     ACT  II. 


ATTO  III. 

iCENA  I  —  Sola  in  Casa  di  Don  PasquaU,  come  aW  Atto 
I. — Spar  si  sui  Tavoli,  sulle  Sedie,  per  Terra,  articoli  di  aba 
gliamento  Femminik,  Abiti,  Capelh,  Pelliccie,  Sciarpe,  Mer- 
letti.  Cartoni,  Sfc.—Don  Pa 'quale  seduto  nella  massima  cos- 
ternazione  davanti  una  Tavola  piena  zepva  di  Litte  e  Fat- 
ten.—  Varii  Servi  in  attenzione. — Dau'  Appartamento  di 
Norina  esce  un  Parrucchiere  can  Pettini,  Pomate,  Cipria, 
Ferri  da  Arricciare,  <Jr.,  attraversa  la  Scena,  e  via  per  la 
porta  di  mezzo. 

Cameriera.  [Facendosi  sulla  porta  dell'  Appartamento  di  No- 
rina ai  Servi.] 

I  diamanti  presto,  presto ! 

Un  Servo.  [Annunciando.]  La  Scuffiara! 

S  a  Cameriera.  Vonga  avanti. 

[La  Scuffiara  portando  un  monte  di  carloni  men*  intro- 
dotta  neW  Appartamento  di  Norina. 
8  a  Cameriera.  [Con  pelliccia  grande,  mazzo  di  fiori,  boccetu 
d'  odore,  che  consegna  a  un  Servo.  J 
la  carozza  tuito  questo. 
4  a  Cameriera. 

II  ventaglio,  il  velo,  i  guanti. 
5th  Cameriera. 

I  cavalli  sul  momento. 
Ordinate  d*  attaccar * 
Pat.    Che  marea — che  stordimento 
E  ana  casa  da  impazzar. 
[A  misura  che  le  Carneriere  danno  gl'  ordint  di  mrpra,  1 
Servi  eseguiscono  in  fretta :  ne  name*  tmmbuwU  e 
confusione. 
Pm.  [Esaminando  le  note.] 

Vediamo — alia  modista: 

Cento  scudi— obbligato !    Al  carroaiere  : 

Sei  cento !    Poca  roba ! 

Nove  cento  e  ciaqaanta  al  gio  j  elliere. 

Per  cavalli — 

[Getta  le  note  cm  stixxa  «  n  aim* 
Al  Demooio ! 
I  cavalli,*!  mercanti,  e  il  matrimonio  ! 

Che  cosa  vo  ra  dir  questa  gran  gala  * 
Escir  sola  a  quest'  ora — 
Un  primo  di  di  aozze  ! 

Debbo  oppormi  a  ogni  modo  ed  impedirlo  ; — 

Ma — si  fa  presto  a  dirlo  ! 

Colei  ha  certi  occhiacchi ; 

Certo  far  da  regina. 

Ad  ogni  modo 

Vo  provarmi  :  se  poi, 

Falhsce  il  tentativo  !    Eccola  ! 

A  noi! 

SCENA  II.— Nohina  e  Dow  Pabquax* 

Norina  entra  correndo,  e  senza  badare  a  Don  PasquaU  fa  per 
E'  vestita  in  grandissima  gala,  ventaglio  in  mana. 

Dove  corre  in  tanta  fretta, 
Sigtorina,  vorria  dirmi  ? 


ACT  III. 

SCENE  I. — A  Room  in  the  House  of  Don  PasquaU,  at  tn 
Act  I. — On  the  Tables,  Chairs,  and  Ground,  are  tprrad 
different  articles  of  Female  Dress — Gowns,  Hats,  Pelittet 
lined  with  Fur,  Sashes,  Bandboxes,  Sfc. — Don  PasquaU  it 
seated  in  the  utmost  consternation  before  a  Table  covered  with 
Bills  and  Invoices. — Several  Servants  are  in  attendance  — 
A  Hair-dresser,  with  Combs,  Pcmatum,  Curling- Irons, 
comes  out  of  Norina's  Apartment,  crosses  the  Stage,  and 
goes  off"  through  the  door  in  the  centre. 

Lady's  Maid.   [Speaking  to  the  Servants  from  the  doot  oj 
Norina's  apartment.} 
The  diamonds,  the  brilliants — here,  quick,  quick! 
Serv.  [Announcing.]  The  Milliner  ! 
id  Lady's  Maid.  Directly  show  her  in. 

f  The  Milliner,  carrying  a  number  of  Bandboxes,  is  shown 
into  Norina's  Apartment, 
id  Lady's  Maid.  \  With  a  large  furred  pelisse,  a  boquet,  m 
smelling-bottle,  which  she  gives  to  a  Footman. 
You  in  the  carriage  will  put  all  these  things. 
Uh  Dady's  Maid. 

The  fan,  the  veil,  and,  Vye  hear,  the  gloves. 
Uh  Lady's  Maid. 

Order  the  horses — do  not  lose  a  moment. 
Let  them  directly  be  put  to,  d'ye  hear  ? 
Pas     What  an  overwhelming  tide — what  a  wild  hubbub  ! 
This  is  a  house  enough  to  drive  oue  mad. 
[In  projxjrtion  as  the  Maids  give  orders  as  above,  the  Foot- 
men execute  them  in  haste :  this  causes  great  tuwma 
and  confusion. 
Pas.  [Examining  the  bills.] 

Now,  let  us  see— what  have  we  here?    First,  tht 
milliner : 

A  hundred  crowns — obliged !    The  coachmaker 
Six  hundred  !    Very  good — 'tis  quite  a  trifle  I 
Nine  hundred,  then,  and  fifty,  to  the  jeweller. 
For  horses — 

[He  throws  the  bills  away  with  annoyance,  and  r\tm 
To  the  Devil  I'll  pitch  all ! 
Horses,  and  tradesmen — ay,  and  matrimony  ! 

[Mutiny 

What  can  you  think  of  these  great  preparation«  * 

To  go  out  by  herself  at  such  an  hour — 

The  very  first  day  of  her  nuptials,  too  JL 

I  should"  oppose  it  every  way,  prevent  it ; — 

But — that  s  a  very  easy  thing  to  say ! 

She's  certain  threat  ning  glances,  scornful  flasho*. 

A  mighty  way  of  playing  the  imperial. 

Let  me  arouse  myself !    By  every  means 

I'll  try  conclusions  with  her  :  if,  then, 

The  attempt  should  fail !    Ah  1  here  the  comet  1 

Now  for  it ! 

SCENE  n.— Nomina  and  Doit  Pasqual* 

Norina  enters  hastily,  in  full  dress,  with  a  Jan  in  w 
She  is  going  out  without  noticing  Don  PasquaU. 

Pns.    Prithee,  where  are  you  running  in  such  haste, 
Young  lady,  may  I  beg  you  will  inform  m*  * 


DON  PASQtJALft 


Nor.       E  ana  cob*  presto  detta : 

Vb  a  teatro,  a  divertirmi. 
Pat.       Ma  il  marito— con  sua  pace — 

Non  voler  potria  talvolta. 
Nor.       II  marito  vede  e  tace. 

Quando  parla,  non  s'ascolta. 
Pas   [Car  bile  crescente.] 

A  non  mettermi  al  cimento — 

Per  suo  bene,  la  consiglio — 

Vada  in  camera  al  momento — 

Ella  in  casa  resteru- 
Nor.  ( Con  aria  di  motteggio.] 

A  star  cheto  e  non  far  scene 

Per  mia  parte  la  scongiuro, 

Vada  a  letto,  dorma  bene — 

Poi  doman  si  parlera.  [  Va  per  utcirt. 

Pot.  [Interponendosi  fra  hi  t  La  porta.) 

Non  si  sorte ! 
Nor.  [Ironica.]  Veramente  ! 

Pat.       So  no  s  tan  co 
Nor.  Sona  stnfa 

Pa*.      Civettella ! 
Nor.  [Con  gran  colore  ]  lmpertinente  ! 

Prendi  su  che  ben  ti  sta  ! 

[  QU  da  urn  tchiaffo. 

Poo.  Ah! 

(E  finita,  Don  Pasquale  ! 
Pin  non  romper  ti  la  testa ; 
II  partito  che  ti  resta, 
E  d'  andarti  ad  annegar.) 
Nor.       (E  dnrretta  la  lezione  ; 

Ma  ci  vuole  a  far  1'effetto  ; 
E  bisogna  del  progetto — 
La  riuscita  assicorar. ) 

[A  Don  Patquale. 

Parto  dunque — 
Pa*.  Parta  pore ! 

Ma  non  faccia  piu  ritorno. 
Nor.       Ci  vedremo  al  nuovo  giorno. 
Pm.       Porta  chiusa  troveri. 


Nor.    Oh !  that's  a  thing  that  very  soon  i§  told : 
I'm  going  to  the  theatre,  to  divert  me. 

Pat.    But  the  husband,  with  your  leave — excuse  tee 
Saying  so — may  perchance  object  to  it. 

Nor.    The  husband  sees,  and  wisely  holds  his  tongue  : 
For  when  he  speaks,  there's  no  one  listens  to  him 

Pat.  [With  rising  warmth.] 

Not  to  put  me  to  the  trial,  Madam — 
It  is  for  your  own  good  that  I  advise  you — 
You'll  to  your  chamber  go — this  very  moraenv- 
Remain  content  at  home — stay  in  the  house 

Nor.  [  With  an  air  of  banter.] 

To  keep  the  peace,  and  not  create  a  scene, 

I,  for  my  part,  conjure  you  earnestly 

To  go  to  bed,  and  there  seek  tranquillity — 

We  will  talk  over  this  affair  to-morrow.        { Gotmf 

Pat.  [  Getting  between  her  and  the  door.] 
You  do  not  go  out,  Madam ! 

Nor.  [Ironically.]  Don't  I,  really  ! 

Pat.    I  am  quite  tired  of  this. 

Nor.  I've  had  enough  of  it. 

Pat.    Shameless  coquette ! 

Nor.  [  With  great  heat.]       Why,  you  impertinent ! 
But  there — take  what  you  well  deserve,  sir ! 

[Boxes  hit  ear. 

Pat.  Ah ! 

ilt  is  all  over  with  you,  Don  Pasquale ! 
)on't  further  trouble  your  poor  head  about  it ; 
For  all  that  now  remains  for  you  to  do 
Is  quietly  to  go  and  drown  yourself.) 
Nor.    (I  must  confess,  'tis  rather  a  hard  lesson  ; 
Yet  'twas  required  to  have  its  due  effect. 
But  we  must  now  take  care  of  our  project — 
The  consummation  and  success  secure.) 

[To  Don  PamptaU 

I'm  going,  now,  then — 
Pat.  Oh  yes,  certainly  ! 

But  do  not  take  the  trouble  to  return. 
Nor.    Oh !  we  shall  see  each  other  in  the  morning. 
Pat.    A  face  of  wood — a  closed  door,  you  will  find. 


VIA,  CARO  SPOSINO—Vtt  DEAR  LITTLE  HUBBY  Norina. 


no  rl  - 
gent,  and 


la    spo  -  sa  ver 

pour  wife  will  en 


ra  va 

gage;  Go, 


va  -  -  vaa  let  -  to  bil  non 
go   to   bed,    dear  grand-dad 


no  sia  che  -  to  il  tuo  son 
dy,     keep   quiet      and  stea 


no  per 
dy,  in 


0—,- 


tern  -  po  a  nt  -  gliar 
good   time    to  call. 


u  la       spo  -  sa 

yom         your     wife  wiM 


ver 


*JON  PASQUALJt 


[Ni 


Pms.       Divorrio  1  divorzio  ! 

Che  letto — che  sposa  ; 
Peggiore  consorzio, 

Di  questo  noa  v*  ha ! 
Ah,  povero  sciocco ! 
8e  duri  in  cervello— - 
Con  questo  martello — 
Miracol  sara ! 

[NelT  otto  di  partirt.    Norma  Latcia  cadero  una  aorta  ; 
Don  Pasquale  se  ne  avvede  e  la  racooglie. 
Pms.    Qualche  nota  di  cuffie  e  di  merletti, 
Che  la  Signora  semina  per  casa. 

[La  spiega  e  legg: 
"  Adorata  Sofronia — "  [Nella  massima  ansxetd. 

Ehi !  ehi !  che  affare  e  questo  1  [Legg*. 
"Fra  le  nove  e  le  dieci  del  la  sera 
Sard  dietro  al  giardino  : 
Dalla  parte  che  guarda  a  settentrione  ; — 
Per  maggior  precauzione 
Pel  piccolo  cancello.    A  noi  ricetto 
Daran  securo  1'  ombre  del  boschetto. 
Mi  scordavo  di  dirti 

Che  annunziero  cantando  il  giunger  mio  : 
Miraccomando — il  tuo  fedele  ; — addio  " 
Pm.  [Fuoridise.] 

Questo  e  troppo  ;  costei 

Mi  vuol  morto  arrabbiato  ! 

Ah !  non  ne  posso  piu — perdo  la  testa ! 

[Scampanellando.    At  tervi  che  entrant). 
Si  chiami  Malatesta, 
Correte  al  Dottore : 
Ditegli  che  sto  mal,  che  venga  tosto, 
O  crepare  e  finirla 

Ad  ogni  costo —  [Don  Pasquale  etc*. 

SCENA  III.— Entra  Coro  di  Servi  e  C. 


!Mm. 

Dim. 


Uom. 

Don. 
Uom. 
Don. 
Tutti. 


Che  interminabile — and  i-rivieni ! 
Noh  posso  regere — rotte  ho  le  reni ! 
Tin-tin  di  qua,  ton-ton  di  la, 
In  pace  un  attimo,  mai  non  si  sta  : 
Ma  casa  buona,  montata  in  grande, 
Si  spende,  e  spande, — v'  e  da  scialar. 

Finito  il  pranzo  vi  fur  on  scene  1 
Comincian  presto — contate  un  pi) — 
Dice  il  marito,  "  Restar  conviene  ;— ' 
Dice  la  sposa,  "  Sortire  io  vb  !" 
II  vecchio  sbutTa,  segue  baruffa — 
Ma  la  sposina  I'  ha  da  spuntar — 
V  e  un  nepotino  guasta-mestieri — 
Che  tiene  il  vecchio  sopra  pensieri — 
La  padroncina  e  tutta  foco — 
Par  che  il  marito  lo  conti  poco ; 
Zitto,  prudenza,  alcun  qui  viene ! 
Si  stara  bene — v'  e  da  scialar. 


[E> 


SCENA  IV.— Malatesta  ed  Ernesto,  sul  limitare  ddla 
porta. 

Mala.  Siamo  intesi  ? 

Em.  Sta  bene,— ora  in  giardmo 

Scendo  a  far  la  mia  parte. 
Mala.  Mentr'  io  fo  qui  la  mia ; 

Sopratutto  che  il  vecchio 

Non  ti  conosca ! 
Em.  Non  temer ! 

Mala.  Appena 

Venir  ci  senti, — 
Em.  Su  il  mantel k>  e  via  ! 

Mmlm  Ottimament*' 


Pat.       Divorce  me  !    Divorce  me 

What  a  match — what  a  wife  she ; 
I'm  sure  a  worse  consort 
Than  this,  never  was  ! 
Ah,  poor  ninny-hammer! 
If  your  brain  stands  this  clamor — 
Worse  than  e'en  pavior's  hammer — 

'Tis  a  miracle,  pos  !  [Exit  tVortiw 

[In  the  act  of  departing,  Norina  let*  a  paper  drip ,  / 
Pasquale  perceives  it,  and  picks  it  up. 
Pas.    One  of  the  bills,  no  doubt,  for  caps  and  '»re«, 
The  lady  likes  to  sow  about  the  house. 

[Opens  anu  eadt 

"  Adored  Sophronia — "  [In  the  greatest  anxiety 

Halloa  !  halloa  !    Eh  !  what  affair  is  this  ?  [Reads 
u  Between  the  hours  of  nine  and  ten  this  evening, 
I  shall  be  at  the  bottom  of  the  garden — 
That  side  of  it  that  looks  out  on  the  north, 
For  greater — more  complete  precaution's  sake, 
By  the  small  grated  gate.    There  we'll  embowerM 
Find  safety  in  the  shadow  of  the  wood. 
I  had  forgot  to  tell  thee,  dearest  love, 
'Tis  in  a  song  I  shall  announce  my  coming  : 
Thine  to  command — thine  faithfully  ; — adieu." 
Pas    f  Unable  to  govern  himself.] 

This  is  too  much ;  'tis  very  plain  this  woman 
Wishes  to  make  me  die  stark  staring  mad ! 
Oh  !  I  can  bear  no  more — I  lose  my  senses  1 

[Ringing  hand-bell  loudly.    To  Servants,  who  «asr 
You'll  hither  instantly  call  Malatesta : 
Run  with  the  speed  of  lightning  to  the  Doctor , 
Tell  him  I'm  ill,  that  he  must  come  here  quickW 
Or  either  I  must  choke  or  stop  this — 
Cost  regardless —  [Exit  Don  Pamp»u* 

SCENE  III.— Enter  Footmen  and  Waiting-maids. 

Omnes.  What  endless  going  there  and  coming  here  ; 
'Tis  insupportable— one's  back  is  broken  ! 
Nothing  but  ding-ding  here,  and  ding-ding  there  ; 
In  peace  they'll  not  a  moment  let  us  stay  : 
But  still,  'tis  a  good  house — all's  rirst-rate  style  ; 
Spend  here,  spend  there, — eat,  drink,  and  making 
merry. 

Women.  The  dinner  over — Oh,  there  were  such  scenes  ! 
Men.       They  began  early — let  us  hear  a  bit — 
Women.  "Now,"  said  the  husband,  "you  must  stop  •» 
home  ; — " 

Said  the  wife  firmly,  "  Sir,  go  out  I  will!" 
Men.       The  little  wife  will  conquer  in  the  end — 

There  is  a  certain  marplot  of  a  nephew — 
Women.  Who  discomposes  much  the  old  man's  mind — 
Men.       Out  little  mistress  is  all  fire  and  f  y — 
Women.  It  seems  she  don't  account  her  husband  much  ; 
Omnes.  Hush,  hush,  be  prudent !  there  is  some  one  coming 
All  will  be  well — there's  plenty  to  regale  us. 

[Exeum 

SCENE  IV.— Malatesta  and  Eknkst  at  the  door. 
Mala.  'Tis  understood  ? 

Em.  All's  right — soon  to  the  garden 

I  shall  repair  ; — repair,  to  play  my  part. 
Sfala.  While  on  my  part  1  stay  hero  to  play  mine  ; 

But,  above  all,  mind — don't  lei  the  i  Id  gentleoiai 

Discover  you 
Em  Don't  nc-  afraid  ! 

Mala  Directly 

You  hear  us  come, 
Em.  On  with  the  cloak,  and  ?fi  I 

Mala   Most  capital ! 


DON  PASQUALE 


Em.  A  rivederci !  [Ernest  esce. 

Mala.  lAvanzandosi.]  Questa 

Repentina  chiamata 

Mi  prova  che  il  biglietto, 

Del  convegno  notturno,  ha  fatto  effetto. 

[  Guarda  Jra  ie  Seen* 

Eccolo  !  com'  e  pallido,  diraesso  ! 

Non  senibra  piu  lo  stesso. 

Me  ne  fa  male  il  core  ; — 

Ricomponiamci  un  viso  da  dottore. 


SCENA  V. 


■Don  Pasqualb,  abbattutissimo  tf  mottra  len- 

tamente. 


Mala.  ULndandogli  incontra.) 
Don  Pasquale — 

Pas.  [Con  tristezza  solenne.] 

Cognato,  in  me  vedete, 
Un  morto  che  cammina  ! 


Main. 


Pas 


Languir. 


Non  mi  fate 
Che  fu  1—  parlate  ! 


Mala. 
Pas. 


M  Oa 
Pas. 


Mala 
Pat. 


[Senza  badargli  e  come  parlando  a  se  steuo.  | 
Pensar  che  per  un  misero  puntiglio 
Mi  son  ridotto  a  questo  ! 
Mille  Norine  avessi  dato  a  Ernesto  ! 
(Cosa  buona  a  sapersi.) 
Mi  spiegherete  alfin? 

Mezza  1'  entrata 
D'  an  anno  in  cuttie  e  in  nastri  consumata 
Ma  questo  e  nulla — 

E  poi« 

La  signotina 

Vuol  escire  a  teatro  : 
M'  oppongo  colle  buone. 
Non  intende  ragione — e  son  deriso. 
Comando  :  e  della  man  mi  da  sul  viso  ! 
Uno  schiaffo ! 

Uno  schiaffo  !  si,  Signore  ! 
Ma  questo  e  nulla  :  v'  e  di  peggio  ancora. 
Leggete ! 

[Porge  la  lettera  al  Dottore,  che  veggt  dando  ttgni  di  tor- 
presa  crescents  Jino  all'  orrore. 
Mala.  Io  son  di  sasso  ! 

Pas.  [Riscaldandosi.]  Corpo  d'  un  Satanaaso  ! 
Voglio  vendetta ! 

E  gusto. 

Aasicorala, 

Sta  in  noi. 

Come? 

Ascoltate ! 

Ho  un  mio  ripiego  ;  ma  sediam.  [Susdcmo. 

Parlate ! 

Cheti,  cheti,  immantinente, 
Nell  giardino  discendiamo ; 
Prendo  meco  la  mia  gente, 
11  boschetto  circondiamo ; 
E  la  coppia  sciagurata, 
A  un  mio  cenno  imprigionata, 
Senza  perdere  un  momento  : 
Conduciam  dal  podesta. 
Che  vi  par  del  pensam 
Parlo  schietto,  non  mi 
Riflettete,  la  colpevole 
M'  e  sorella,  e  moglie  vostra : 
Ah  non  stiamo  I'  onta  nostra 
Su  pei  tetti  a  divulgar. 
Espediente  piu  a  proposito, 
Procuriam  d'  immaginar. 
Io  direi,  sentite  un  poco. 
Noi  due  soli  andiam  sul  loco  : 
Nel  boschetto  ci  appostiamo  ; 


Mala 
Pa*. 

Mala 
Pat. 

Mala 
Pat. 


Mala. 


A  S. 


Mala. 


Srn.  Until  we  meet,  adieu  !  [Exit  Emem 

Mala.  [Coming  forward.]  This 

Sudden,  though  not  unexpected  summons, 

Proves  very  clearly  to  me,  that  the  billet 

Of  this  night's  assignation  has  been  swallowed. 

[Looks  *Jf 

He's  here  !  how  pale  and  'Woe-begone  he  looks  ! 
He  seems  not  the  same  man  he  us'd  to  be. 
I  vow  it  cuts  me  to  the  very  heart ; — 
Let  me  resume  my  proper  doctor's  face. 

SCENE  V. — Don  Pasqualb,  excessively  dispirited  and  oa» 
down,  enters,  and  advances  slowly. 

Mala.  [Going  to  meet  him.] 

My  best  of  friends  and  patients,  Don  Pasqnaie- — 
Pas.  [  With  solemn  grief-} 

Brother-in-law,  in  me,  alas  !  you  see 

A  dead  man,  walking  upright  ! 
Mala.  Do  not  keep  me 

In  dr«ad  suspense.    What  can  have  happen'd  f~ 
speak ! 

Pas.  [  Without  attending  to  him,  and  speaking  to  himself. } 

To  think  that  for  a  poor  punctilio 

I  am  redue'd  to  such  a  state  as  this  ! 

A  thousand  Norinas  I'd  have  given  Ernest ! 
Mala.  (That's  a  good  thing  to  be  acquainted  with.) 

Will  you  explain,  at  last  ? 
Pas.  Half  the  whole  income 

Of  a  year  in  caps  and  ribbons  gulph'd  up ! 

But  that  is  nothing — 
Mala.  What  more? 

Pat.  The  young  lady 

Chooses,  forsooth,  to  go  to  the  theatre : 

This  I  oppose,  but  with  the  greatest  mildness. 

She  won't  hear  reason — I'm  a  laughing-stock. 

I  then  command  :  she  strikes  me  on  the  face ! 
Mala.  A  blow ! 

Pas.  A  blow,  sir ! — what  do  you  think  of  that 1 

But  that  is  nothing :  there  is  worse  behind. 
Read! 

[  Gives  the  letter  to  the  Doctor,  who  makes  signs  of  *t# 
prise,  increasing  even  to  horror. 

Mala.  I  am  fairly  petrified,  turn'd  stone  I 

Pat.    By  all  that  is  infernal !  Satan's  body! 
I  swear  I'll  have  a  terrible  revenge ! 

Mala.  It  is  but  just  you  should. 

Pat.  To  secure  it, 

Rests  with  ourselves. 

Mala.  How  ? 

Pat.  Listen,  listen,  Doctor ! 

I  have  a  plan  ;  but  let  us  sit  down.  [1^*9  ** 

Mala.  Speak ! 

Pat.    Softly,  friend,  softly  !    This  hour,  immediately, 
We  to  the  garden  will  forthwith  proceed  : 
I  will  take  with  me  all  my  people. 
The  little  woody  arbor  we'll  surround ; 
And  the  vile  culpable  unlucky  couple 
Are,  at  a  signal  I  shall  give,  imprison'u 
Without  a  single  moment  being  lost  ■ 
Before  the  magistrate  we  then  will  take  them. 
Now,  of  this  scheme  of  mine  what  think  you  ? 

Mala.  Why,  to  speak  frankly,  I  do  not  quite  agree. 
Reflect,  this  most  abandon'd,  guilty  one, 
Unhappily's  my  sister,  and  your  wife : 
Let  us  not  give  the  means  by  which  our  shame 
May  from  the  very  house-tops  be  proclaim'd. 

both.  A  more  expedient,  likely  proposition, 

We  must  try  somehow,  if  we  can't  devise. 

Mala.  I  should  say,  let  us  consider  a  little. 

We  two  alone  will  go  straight  to  the  place 
There,  in  the  little  wood,  let's  post  ourselves , 


DON  PASQDALEu 


as 


A  so :  /dm po  ci  mostriamo  ; 

E  tra  preghi,  tra  minaccie — 
D'  avvertir  I'  autorita — 
Ci  facciam  dai  due  promettere 
Che  la  tresca  ha  fine  la. 
Don  Pasquale  che  vi  par  ? 
Pa*.  [Alzandosi.]  Perdonate,  raon  pub  star; 
E'  sifFatto  scioglimento, 
Poca  pene  al  tradimento  ; 
Vada  fuor  di  casa  mia, 
Altri  patti  non  vo'  far. 
A.  8.     E'*un  aflfare  delicato, 

Vuol  ben  esser  ponderato, 
La  prudenza  col  rigore 
Qui  bisogna  consiliar. 
Mala.  [A  un  tratto.]  L'  ho  trovata  ! 
Pa*.  Oh  benedetto  1 

Dite  presto. 
Mala  Nel  boschetto 

Quatti,  quatti,  ci  appostiamo, 
Di  la  tutto  udir  possiamo, 
S'  e  costante  il  tradimento  : — 
Su  du  pie' s'  ha  da  cacciar. 
Pa*.       Son  contento — va  benone ! 
Mala      Ma  con  patto  e  condizione, 
Che  1'  intento  ad  ottenere — 
M'  accordiate  di  potere 
Fare  e  dire  a  norae  vostro 
Tutto  quello  che  mi  par  * 
Pa*.       Carta  bianca  vi  concede, 
Fate  pur  quel  che  vi  par  : 
Aspetta,  aspetta, 
Cara  sposina, 

La  mia  vendetta  r 

Gia' s'  avvicina, 

Gia'  gia'  ti  preme  : 

Gia*  t  ha  raggiunto, 

Tutte  in  un  punto ! 

L'  hai  da  scontar — 

Vedrai  se  giovino, 

Raggiri  e  cabale — 

Sorrisi  teneri — 

Sospiri  e  lagrime — 

La  mia  rivincita, 

Mi  voglio  prendere  ! 

Sei  nella  trappola ! 

V  hai  da  restar ! 
Mam    A  parte.]  II  poverino  ! 

Sogna  vendetta ; 

Non  sa  il  meschino — 

Quel  che  1'  aspetta ! 

Invano  freme ; 

Invano  arrabbia — 

E'  chiuso  in  gabbia ! 

Non  pub  scappar ! 

Invano  accumula, 

Progetti  e  calcoli ; 

No  sa  che  fabbrica 

Castelli  in  aria : 

Non  vede — il  semplice — 

Che  nella  trappola, 

Da  se  medesimo 

Si  va  a  gettar.  [  Escono  insume. 

SK  KNA  VI.— Ernesto  e  Coro  di  dentro.  Boschetto  nel 
parditto  attigao  olla  casa  di  Don  Pasquale  da  un  lata  gra- 
iitnaia  che  un  dalla  casa  mette  in  giardino  doll'  altro  can- 
cxilo  ae*  giardino.    E  notte. 


Then,  at  the  proper  time,  come  forth  ; 
And  what  with  supplications  and  with  menace* — 
That  we'll  inform  th'  authorities  of  all — 
Perchance  we  may  induce  them  both  to  promise 
That  this  false  step  shall  end  for  ever  there. 
Now,  Don  Pasquale,  what  do  you  think  of  that  1 
Pa*.  [Rising.]  Pardon  me,  Doctor,  but  this  cannot  be 
Such  a  get-off  as  would  be  this  conclusion, 
Would  be  but  little  punishment  for  such  treachery 
She  shall  go  out  for  ever  from  my  house ! 
Save  this  condition,  none  else  will  I  make 
Both.   It  is  a  delicate  affair, 

And  requires  deliberation  : 
Prudence,  with  rigorous  degradation, 
Here  must  be  combin'd  with  care. 
Mala.  {Suddenly.]  Eureka!  I  have  found  it ! 
Pas.  Oh,  bless'd  heaven ! 

Tell  me  directly. 
Mala.  In  the  little  wood 

Quietly,  quietly,  we  will  post  ourselves, 
Whence  we  may  hear  what  passes,  and  judge 
If  real  bond  fide  is  this  treachery  : — 
When  I  will  instantly  discard  her. 
Pas.    1  am  contented — 'tis  the  very  thing  ! 
Mala.  But  with  this  compact,  and  with  these  conditions 
This  most  desirable  object  to  obtain — 
That  you  shall  fully  grant  me  the  power 
Of  doing,  and  of  saying,  in  your  name, 
All  things,  I  in  my  judgment  may  think  fit ! 
Pa*.    A  carte  blanc  I  willingly  will  give  you, 
Do  all  and  singular  that  you  think  best : 
Wait,  wait, 
Dear  little  wife, 
I  soon  reveng'd  will  be  : 
E'en  now  'tis  near,  my  life, 
The  Fates  press  hard  on  thee  : 
Now,  now,  it  reaches  thee, 
This  night,  without  delay, 
Thou  must  the  reckoning  pay  ! 
Thou'lt  see  what  little  use 
Now  will  be  each  excuse — 
Useless  thy  tender  smiles, 
Sighs,  and  tears — and  wiles — 
All  I  have  now  at  stake, 
Conquer'd,  again  I'll  take  ! 
Thou'rt  in  the  trap — hurrah  ! 
There  thou  wilt  have  to  stay  ! 
Mala.  [Aside.]  Oh,  the  poor  fellow! 

Vengeance  he's  prating ; 

Let  the  dolt  bellow — 

He  knows  not  what's  waiting  f 

Vain's  all  his  fretting  now ; 

Rage  in  vain  ape — 

He's  a  cage  shut  in  now — 

Cannot  escape ! 

Vain  he  accumulates, 

Projects,  and  calculates , 

He  knows  not  he  is  building  rare 

Castles  in  the  empty  air  : 

He  sees  not — the  simpleton — 

That  in  the  trap,  poor  elf, 

He  of  his  own  accord 

Now  goes  to  throw  himself.       [Exeunt  together 

SCENE  VI. — Ernest  and  Chorus  within  a  small  wood  i> 
the  garden,  adjoining  Don  Pasquale' s  house.  On  one  tud*  a 
fiight  of  steps,  leading  from  the  house ;  on  the  other  the  $rufc* 
gate  of  the  garden.    It  is  night. 


DON  PASQUAUC. 


COAT  E  GENTIL — OH !  SUMMER  NIGHT.    8olc  Ernmto. 


Com'  e  gen  •  til, 
Oh!  Summer  night, 


la  not-te  a  mezzo  April,  • 
Thy    tran-quil  light 


E  azzur-ro  il  ciel — 
Was  made  for  those.. 


la     la  •  nae  sen  •  za 

who    shun    the     bu  -  sy 


rel :   Tut-t'e    lan  -  guor. 

day,  •    Who  love  too  well, 


Pace,  miste-ro,  a  -  mor 
Yet    blush    to  teV 


Ben  mio,  per-ch6  ancor-— non  viene  i 
The  hopes  that  led   their  hearts  a 


me! 
stray! 


For  -  ma  -  no 
All  now  is 


Tan 
stiU, 


re, 


D'a  -  mor-e  ac  -  cen 
On   dale,  on  hiU, 


Del  rio  nel  raormorar, 
And  none  are  nigh,  


Sos  -  pi  -  ri 
With  curious 


sen 
eye; 


ti     Ben   mio   per  -  che, 
Tlien   why,  my  love, 


anuor  non  vie  nl  a  - 
oh,       why       de  - 


me?   Per  -  che,  per  -  che,   non      vieni       a      me?  Poi  qnando 

lay  t Then   why,  my    love,..-*      nh.        whv         de  -  lav  t  Your  lat~tia 


vieni 
why 


a  •  me  ? 
de  -  lay? 


Poi  qnando  sa  -  rd 
Your     lat  -  tice    o  -  pen 


-j— ^=I— *-k--*— * — i  p-f-p     I     T-r-"j-   1      |      *-f-*-r-^  -.-7--P 


mor  -  to, .  • 
(9 


pian-ge  -  ra  •  i 
star  -  ry  night, 


0  -0 

Ma  -  ri  -  chia  mar-m'in  -  vi  -  ta  -  -  -  non  po  -  trai. . . . 
And  with  your  presence  make  the     world  more  bright. 


Nina  crodel,  mi  vnoi  veder  morir 1 
Poi  qnondo  sard  morto  piangerai, 
Ma  ritornarmi  in  vita  non  potrai. 
Coro.  [Di  dentro.]  Poi  qnando  sara  morto,  piangerai, 
Ma  ritornarmi  in  vita  non  potrai. 
\Norina  esce  con  precauzione  dalla  casa  e  va  ad  ajtrire  ad 
Ernesto,  che  si  mostra  dietro  il  cancello.    Ernest  e 
iwolto  in  un  mantelh,  che  lascera  cadere. 


Crnel  Norina,  would  you  see  me  die  ? 
When  I  am  dead,  you'll  haply  for  me  weep, 
But  back  to  life  you  could  not  then  restore  me! 
Omnes .  When  he  is  dead,  yDu'll  haply  for  him  weep, 

But  back  to  life  you  could  not  then  restore  him  ! 
I  Norina  comes  cautiously  out  of  the  hoitse  and  o/>ens  Urn 
gate  for  Ernest,  who  is  seen  behind  it     Ht  is  wrap- 
ped in  a  mantle,  which  he  lets  tall. 


TORNAMI  A  DIR — TELL  ME  AGAIN.    Duet.    Ernest  and  Norina. 


na  -  mi  a  dir  che  m  a 
me    a  -  gain  thou  lov'st 


mi, 
me. 


Dim 
TtU 


mi   che  rai  -  o     tu  se 
me  that  thou  art   mine,  dear 


USUI 


Tor 
TeB 


na  -  mi  a  dir  che  m'a  -  mi, 
me    a  -  gain  thou   lov'st  me. 


Dim  -  mi  che  mi  -  o     tu  se 
TeU      me  that  thou  art  mine,  dear 


DON  PASyOALE. 


an 


Quan  -  do  tuo  ben  mi  chia  -  -  mi, 
When,     love,  thou  call'st  me  thine ^   own, 


La    v\  -  ta   ad  -  dop  -  pi    in  me. 
It  makes  my  life   dou  -  ble    ap  -  pear. 

-#- 


V — -— 
Quan  -  do   tuo   ben     mi  chia 
When,    love,  thou  call'st  me  thine 


La  vi  -  ta  ad  -  dop  -  pi  in  me. 
It  makes  my  life   dou  -  ble    *p  -  pear. 


pres 


so    il    co  -  re    op  -  pres 


cheer  •  ing,  my  bo 


som  chet 


so,  Se 
ing,  I 


cnra  a 
trem-ble 


fran  -  ca  il  co  -  re  op  -  pre* 
sweet   sounds  my   bo  som  cheer 


so,  Se 
ing,  I 


cnra  a 
trem  -  bis 


te  d'ap-pres  -  so, 
when  thou'rt  a  -  way,  dear 

"kJt 


But  joy   re  -  turns  when  thou  art  near, 


te  d'ap-pres  -  so, 
when  thou'rt  a  -  way,  dear, 


Tre  -  mo  Ion  -  tan  da  -  te  . 
But  joy  re  -  turns  when  thou  art  near, 


t=p — *    b    li — 52=3-i  tz 


se  cu.  a  a    te  d'ap  -  pres  -  so, 

I....    tremble  when  thou'rt  a  •  way,  dear 


se  -  cura  a  te  d  ap  -  pres  -  so, 
/. . . .    tremble  when  thou'rt  a  -  way,  dear 


mo  Ion  -  tan  da  te. 
returns  when  thou  art  near. 


mo  ion  -  tan  •  da  te. 
joy     returns  when  thou  art  near. 


[Si  vedono  Pasquale  e  il  dottore,  muniti  di  lanterne,  sorde 
entrar  pian  piana  nel  cancello :  si  per  dono  dietro  agli  i 
alberi  per  ricomparire  a  suo  tempo. 

Nor.  [Sommessamente .]  Sento  rumor  ! 

Ern.  Son  dessi!  I 

Nor.    Comincia  I'  ultim'  atto— 

Ern.    Se  perder  ti  dovessi ! 

Nor.    Fa  cor,  t'  amda  in  me. 


[Pasqrude  and  the  Doctor,  furnished  with  dark  lanterns, 
are  seen  to  enter  softly  at  the  grated  door :  they  disap 
pear  behind  the  trees,  but  reappexir  at  the  right  moment. 
Nor.  [  Very  low.  |  I  heard  a  sound  approaching  ! 
Ern.  Ah  !  'tis  they  ! 

Nor.    Let  us  begin,  dear  Ernest,  the  last  act — 
Ern.    If  I  should  have  to  lose  thee,  after  all ! 
Nor.    Take  heart — love  is  our  friend,  trust  all  to  me 


DON  PASQUALK. 


[Merit re  Don  Patquale  e  il  dottore  ri  compariacono  Er- 
nesto riprende  mantello,  e  si  scosta  alquanto  da  No- 
rina nella  direzione  delta  casa  di  Don  Pasquale. 

Pas.    Eccoli !    Attend  ben  ! 

Mala.  M'  raccomando ! 

SCENA  VII.— DOW  *ASQUALK,  DoTTOM,  «  dettx. 

Pas.  [Sbarrando  la  lanterna  in  volto  a  Norina.] 

Alto  1* ! 
Nor  Ladri,  ajuto ! 

Pas  [A  Norina.]  Zitto  !   Ov'  e  il  drudo  « 
Nor.  Chi? 
Pas.  Colui  che  stava 

Con  voi  qui  amoreggiando — 
Nor.  [Con  risentimento.]  Signor  mio  ! 

Mi  meraviglio  qui  non  v'  era  alcuno ! 
Mala.  (Che  faccia  tosta  !) 

Pas.  (Che  mentir  sfacciato!) 

Sapro  ben  io  trovarlo. 
[Don  Pasquak  e  il  dottore  fanno  indagini  nel  boschetto. 
Ernest  entra  pian  piano  in  casa. 
Nor.    Vi  ripeto, 

Che  qui  non  v'  era  alcun,  che  voi  sognate. 
Mala.  A  quest  ora  in  giardin  che  facevate  ? 
Nor.    Stavo  prendendo  il  fresco. 
Pas.    H  fresco!    [Con  esplosione.\ 

Ah,  donna  indegna ! 

Fuor  di  mia  casa ! — o  ch'  io ! — 
Nor.    Ehi !  ehi !  Signor  Marito — 

Su  che  tuoti  la  prendete  1 


Pas.  Escite  e  presto  ! 

Nor.    Nemmen  per  sogno ;  e'  casa  mia — ri  res  to. 
Pas.    Corpo  di  mille  bom  be ! 
Mala.  Don  Pasquale, 


Lasciate  fare  a  me ;  solo— badate— 
A  non  smentirmi : — ho  carta  bianca ! 
Pas.    E  inteso. 
Nor.    (II  bcllo  adesso  viene.) 
Mala.  [A  Norina  piano.] 

(Stupor  misto  di*  sdegno, — attenta  ben©—) 
Sorella  udite,  io  parlo 
Per  vostro  ben :  vorrei 
Risparmiarvi  uno  sfregio — 
Nor.  A  me  uno  sfregio  1 

Mala.  (Benissimo  !)    Domani  in  questa  casa, 

Entra  la  nuova  sposa. 
Nor.  |  Come  sopra.]  Un  altra  donna  ! 

A  me  simile  ingiurla  ? 
Mala.  (Ecco  il  momento  di  montare  in  furia.) 

[Don  Pasquale  tien  dietro  al  dialoga  con  grand*  inte- 
resse. 

Nor.    Sposa  di  chi  '( 

Mala.  D' Ernes  to ; — la  Norma. 

Nor.  [Con  disprezzo.] 

Quella  vedova  scaltra ;— e  civettina  1 
Pas.  [Al  Dottore.]  Bravo,  Dottore! 
Mala.  ( Siamo  a  cavallo ! ) 

Nor.    Colei  qui  a  mio  dispetto ! 

Norina  ed  io  sotto  r  istesso  tetto ! 

[Con  forza. 

Giammai !  piutosto  parto ! 
Pas.    Ah,  lo  volesse  il  Ciel ! 
Nor.  [Cambiando  modo.] 

Ma — piano  un  poco. 

Se  queste  nozze  poi  fossero  un  goico  I 

Vo'  6incerami  pria. 
Mala.  E  giusto. — [A  Don  Pasquale.] — Don  Pasquale  non 
c'  e  via  ; 

Qui  bisogna  sposar  quei  due  dawero 
Se  no  costei  non  va. 


[  When  Don  Pasquale  and  the  Docti  t  re-appear,  Ermm 
cloaJcs  himself,  and,  leaving  Norina,  returns  toward* 
the  house  of  Don  Pasquale. 

Pas.    They're  here  !    Mark  well ! 

Mala.  Heaven,  I  commend  me  to  thee ! 

SCENE  VII.— Dow  Pasquale,  Malatbsta,  amd  ike 

others. 

Pas.  [  Unmasking  the  lantern  full  in  Norina's  face.] 

Halt  there  !    Hold,  Madam  ! 
Nor.    Ah,  thieves  !  thieves  ! — help  !  help  ! 
Pas.  j  To  Norina.]  Peace !    Where's  the  lover  * 
Nor.  Who  ? 

Pas.  Why,  he  who  was 

Here  but  this  very  moment — making  love — 
Nor.  [Offended.]  Who,  sir? 

I  am  amazed — there  was  nobody  here  ! 
Mala.  (What  a  quick  change  !) 

Pas.  (What  an  audacious  falsehood  !) 

Oh !  I  know  well  how  I  can  find  the  gentleman. 
[Don  Pasquale  and  Malatesta  make  o  search  among  tk» 
trees.    Ernest  secretly  enters  the  house. 
Nor.    Doubt  it !  well,  I  repeat  it  to  you  again, 

That  there  was  no  one  here,  and  that  you  dream. 
Mala.  At  this  hour  in  the  garden,  pray  what  did  you * 
Nor.    I  was  enjoying  the  fresh  air. 

Pas.    The  fresh  air !   [  With  a  burst  of  indignation.]    Ah ! 

thou  false  unworthy  woman  ! 
Out  of  my  house  directly  !— troop  ! — or  I — 
Nor.    Heydey !  heydey ! — strong  words  these,  Mister  Hun 

band ! 

Do  you  take  up  this  tone  ? 


Pas.  Begone,  and  quickly ! 

Nor.    Nay,  I'd  a  dream  ;  'tis  my  house — I'll  stay  in  it 
Pas.    Body  of  a  thousand  bombs ! — 
Mala.  Pasquale, 


Leave  me  to  manage  this ;  only — take  care — 
Don't  interfere  : — I've  carte  blanc ! 
Pas.    'Tis  agreed  so. 

Nor.    (The  best  of  all  of  this  is  now  to  come.) 
Mala.  [To  Norina,  sofUy.] 

(Amazement  mix'd  with  indignation — mind — ) 
Patiently  hear  me,  sister,  for  I  speak 
But  for  your  good  :  believe  me,  I  would  wish 
To  spare  you  a  disgrace — 
1  Nor.  [Indignantly.]  Disgrace!    Spare  me  1 

Mala.  (Most  capital !)    To-morrow,  in  this  house 

Enters  the  new-made  bride. 
Nor .  [As  before. ]  Another  lady ! 

To  me  such  an  injurious  affront  ? 
Mala  (Now  is  the  time  to  fly  into  a  passion.) 

[Don  Pasquale  is  behind,  listening  to  the  dialogue  wtU 
great  interest. 
Nor.    The  bride  of  whom  ? 
j  Mala.  Of  Ernest — his  Norina  ! 

i  Nor.  [  With  disdain.] 

That  cunning  little  widow— that  coquette  ! 
Pas.  \  To  Malatesta.]  Bravo,  Doctor  ! 
Mala  (We  go  as  if  on  horseback !) 

Nor.    That  flirting  hussy  here,  in  spite  of  me ! 
I  and  Norina  'neath  the  self-same  roof? 

[Vehement^ 

Never  !    No,  sooner,  first,  I  would  depart ! 
Pas.    With  all  my  heart !    I  wish  to  Heaven  you  would ! 
Nor.  [Changing  her  manner.] 

But  do  not  let  me  hurry — wait  a  little. 

If  these  same  nuptials  should  be  all  a  joke ! 

I  must  assure  myself  they're  real  first. 
Mala.  'Tis  just. — |  To  /Mm  Pasquale.] — Pasquale,  there 's 
no  other  way ; 

So  these  two  you  must  unite  in  good  earnest 

Or  she  won't  go. 


DON  PASQUALE. 


Pa*.  Non  mi  par  vero  I 

Mai*.  [Chiamando.] 

Ehi !  di  casa,  qoalcnno ' 

Ernesto ' 


SCENA  ULTIMA.— BmratTO  «  8*rr* 


Em. 
Mala. 


Eccomi ! 

A  voi ! 
Accorda  Don  Pasquale 
La  mano  di  Norina,  e  an  annuo 
Di  quattrromila  scudi. 

Ah,  caro  zio ! 

E  fia  ver  ? 

tA  Don  Pasquale.]  D'  esitar  non  e  pin  tempo, 
)ite  di  si — 

M'  oppongo ! 

Ed  io  consento  !      \A  Ernesto 
Corn  a  prender  Norina : 
E  d'  nnirvi  io  m'impegno  in  sal  moment©— 
Senz*  andar  lungi  la  spcsa  e  presta. 
Come  ?    Spiegatevi ! 

Norina  e  qaesta ! 
Quella !  Norina  ?    Che  tradimento  1 
Dun  que  Sofronia — 

Dara  in  convento  • 

E  il  matrimonio — 

Fa  un  mio  pensiero, 
Stringerri  innodo  di  nullo  effetto, 
II  modo  a  tarvi  di  fame  an  vero. 
E  ehiaro  il  resto  del  romanzetto. 
Ah  bricconissimi !    ( Vero  non  parmi ! 
Ciel  ti  ringrazio ! )    Cosi  ingannarmi, 
Meritereste — 

Va  siate  buono ! 
Em.  llnginocchiandosi.]  Deh,  zio,  movetevi  I 
Nor.  \Con  sopra.]  Grazia  !  perdono ! 
Pat.    Tutto  dimentico.    Siate  felici ! 

Com'  io  v'  unisco ! — v'  unisca  il  Ciel ! 


Em. 

Mala. 

Nor. 
Pom. 


Mala. 
Pat. 
Mala. 
Pat. 

Mala. 

Pat. 

Mala. 


Pat. 


Mala. 


Pa*.  I  can't  believe  ray  senses ! 

Mala.  [Calling  ]  Ho,  there!  hous«  !  house!  who  waits  *— 
some  one  directly ! 
Ernest ! 

SCENE  the  LAST.— Ebwmt  and  Servant* 

Ern.    I'm  here !  I'm  here ! 

Mala.  'Tis  well !    To  you 

Your  uncle,  Don  Pasquale,  kindly  grants 

Norina's  hand,  with  an  allowance  yearly — 

Four  thousand  crowns. 
Ern.  Ah,  dearest,  best  of  uncles  ! 

Can  it  be  true  ? 
Mala.  [To  Pasquale.]  Too  late  to  hesitate  : 

Say  yes — 
Nor.  But  I  oppose  it ! 

Pas.  I  consent !        [To  Emm 

Run,  swiftly  as  the  wind,  and  find  Norina : 
I  to  unite  you  undertake,  this  moment — 

Mala.  Without  you  going  farther,  the  bride's  ready 

Pas.    How  ?    Explain  yourself ! 

Mala.  There  is  Norina ! 

Pas.    Eh !  that  Norina  ?    What  treachery  is  this  ! 
Why,  then,  Sophronia — 

Mala.  Still  is  in  the  convent ! 

Pas.    My  marriage,  then — 

Mala.  Was  an  idea  of  mine 

To  bind  you  by  a  tie  of  no  effect, 
That  you  might  not  have  means  to  form  a  true  oar 
The  rest  of  the  romance  is  very  clear. 

Pas.    Cozening  rogue !    (Still  I  dare  not  believe  it  1 
Kind  Heaven,  I  thank  thee !)  To  deceive  n 
You  merit — 

Mala.  Come,  now,  be  indulgent,  sir  ! 

Em.  [Kneeling.]  Ah,  uncle,  be  persuaded! 

Nor.  [Also  kneeling.]  Pardon !  pardon  ! 

Pas.    I  everything  forgive.    May  you  be  happy, 
As  I  unite  you  ! — so  unite  you,  Heaven  ! 


LA  MORALE  IN  TUTTO  QUESTO—THUS  THE  MORAL.  Norina. 


vel  -  lo 
ment-ed 


ehi  s'am  •  tnoglia  in 
Who     would    mar  -  ry 


vecchia  e  ta  si  va  a  cer  -  car  col 
when      he's     old,  Soon     hit       fol  -  ly 


cam 
is 


nel-lo  *  no  se  e  •  doglie  in  quan  -  ti  -  ta  

pented,  and    hit     pa*  -  sion  soon  grow*  cold—  


ben 
He 


e  see  -  mo 
must     sure  -  Ijf 


28 


DON  PASQUALE 


-9  1 

ment-ed 


Chi 

ipfto     would     mar  -  ry       when     he's  old, 


Soon 


cer 
ftfe 


P* 
rt 


non  e  doglie,  doglie  e 
and     his  passion,   and  his 


quan  -  ti  -  ta, 
soon   grown  cold. 


Pas, 


Halo 
Km 


La  morale  e  molto  bella, 

Applicarla  a  me  si  sta  ; 
Sei  pur  fina  o  bricconcella 

M'  hai  servito  come  va. 
La  morale  e  molto  bella 

Don  Pasquale  l'  applichera 
Quella  cara  bricconcella 

Lunga  pin  di  noi  la  aa ! 


Pas. 


Mala. 
Em 


It  is  a  very  clever  moral, 

And  well  enough  applies  to  me  ; 
8o,  little  rogue,  we  will  not  quarrel, 

Though  you  have  used  me  scurvily. 
I  It  is  a  very  clever  moral, 
)     As  Don  Pasquale  soon  will  see  • 
He  must  not  with  this  dear  rogue  quarrel 
She  knows  a  vast  deal  more  thau  h»  ! 


THE 


The  Musicians  Library 

CThis  notable  series  has  been  planned  to  embrace  all  the  master- 
pieces of  song  and  piano  literature ;  to  gather  into  superbly  made 
volumes  of  uniform  size  and  binding  the  best  work  of  the  best  com- 
posers, edited  by  men  of  authority.  Each  volume  is  independent,  complete  in  itself, 
and  sold  by  itself. 


PIANO  VOLUMES 


Edited  by 


BACH  PIANO  ALBUM.  Vol.  I.  Shorter  Compositions  Dr.  Ebenezer  Prout 

BACH  PIANO  ALBUM.  Vol.11.  Larger  Compositions  Dr.  Ebenezer  Prout 

BEETHOVEN  PIANO  COMPOSITIONS.  Vols.  I  and  II  Eugen  d' Albert 

BRAHMS,  JOHANNES.  Selected  Piano  Compositions  Raphael  Joseffy 

CHOPIW,  FREDERIC.  Forty  Piano  Compositions  James  Huneker 

CHOPIN,  FREDERIC.  The  Greater  Chopin   James  Huneker 

GRIEG,  EDVARD.  Larger  Piano  Compositions  Bertha  Feiring  Tapper 

GRIEG,  EDVARD.  Piano  Lyrics  and  Shorter  Compositions  Bertha  Feiring  Tapper 

HAYDN,  FRANZ  JOSEF.  Twenty  Piano  Compositions  Xaver  Scharwenka 

LISZT,  FRANZ.  Ten  Hungarian  Rhapsodies  August  Spanuth  and  John  Orth 

LISZT,  FRANZ.  Twenty  Original  Piano  Compositions  August  Spanuth 

LISZT,  FRANZ.  Twenty  Piano  Transcriptions  August  Spanuth 

MENDELSSOHN,  FELIX.  Thirty  Piano  Compositions {  ; ; ^TJW^SartfcStSS 

MOZART,  WOLFGANG  AM ADEUS.  Tv/enty  Piano  Compositions   Carl  Reinecke 

SCHUBERT,  FRANZ.  Selected  Piano  Compositions  August  Spanuth 

SCHUMANN,  ROBERT.  Fifty  Piano  Compositions  Xaver  Scharwenka 

WAGNER,  RICHARD.  Selections  from  the  Music  Dramas  Otto  Singer 


ANTHOLOGY  OF  FRENCH  PIANO  MUSIC.  Vol.  I.  Early  Composers    ?  T         P1  ... 

Vol.  II.  Modern  Composers) lsldor  ^nil,Pp 


Morita.  Moszkowski 


ANTHOLOGY  OF  GERMAN  PIANO  PIANO  MUSIC.  Vol.   I.  Early  Composers  ? 

Vol.  II.  Modern  Composers  ) 

EARLY  ITALIAN  PIANO  MUSIC   M.  Esposito 

TWENTY-FOUR  NEGRO  MELODIES  Transcribed  for  Piano  by  S.  Coleridge-Taylor 

Each  volume  in  heavy  paper,  cloth  back,  #2.00;  in  full  cloth,  gilt,  $3.00.  Copies  mailed  postpaid. 
Other  volumes  in  preparation.  Booklets,  giving  full  particulars,  with  portraits  of  Editors  and  contents 
of  volumes  published,  FREE  on  request. 

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The  Musicians  Library 

C.This  notable  series  has  been  planned  to  embrace  all  the  master- 
pieces of  song  and  piano  literature;  to  gather  into  superbly  made 


volumes  of  uniform  size  and  binding  the  best  work  of  the  best  composers,  edited  by 
men  of  authority.   Each  volume  is  independent,  complete  in  itself,  and  sold  by  itself. 


SONG  VOLUMES  Editedby 

BRAHMS,  JOHANNES.  Forty  Songs.  High  Voice.  Low  Voice  James  Huneker 

FRANZ,  ROBERT.  Fifty  Songs.  High  Voice.  Low  Voice  William  Foster  Apthorp 

GRIEG,  EDVARD.  Fifty  Songs.  High  Voice.  Low  Voice  Henry  T.  Finck 

HANDEL,  GEORGE  FRIDERIC.  Vol.  I.  Songs  and  Airs  for  High  Voice )  ^  ffKn„n,»rPm„t 

Vol.  II.  Songs  and  Airs  for  Low  Voice  J Un  ^benezer  ™ut 

JENSEN,  ADOLF.  Forty  Songs.    High  Voice.  Low  Voice  William  Foster  Apthorp 

LISZT,  FRANZ.  Thirty  Songs.  High  Voice.  Low  Voice  Carl  Armbruster 

SCHUBERT,  FRANZ.  Fifty  Songs.  High  Voice.  Low  Voice  Henry  T.  Finck 

SCHUMANN,  ROBERT.  Fifty  Songs.  High  Voice.  Low  Voice  .'....W.J.  Henderson 

STRAUSS,  RICHARD.  Forty  Songs.  High  Voice.  Low  Voice  James  Huneker 

TCHAIKOVSKY,  P.  I.  Forty  Sengs.  High  Voice.  Low  Voice  James  Huneker 

WAGNER,  RICHARD.  Lyrics  for  Soprano  Carl  Armbruster 

WAGNER,  RICHARD.  Lyrics  for  Tenor    Carl  Armbruster 

WAGNER,  RICHARD.  Lyrics  for  Baritone  and  Bass  Carl  Armbruster 

WOLF,  HUGO.  Fifty  Songs.  High  Voice.  Low  Voice  Ernest  Newman 

FIFTY  MASTERSONGS.  High  Voice.  Low  Voice  Henry  T.  Finck 

FIFTY  SHAKSPERE  SONGS.  High  Voice.  Low  Voice  Charles  Vincent,  Mus.  Doc. 

MODERN  FRENCH  SONGS.  High  Voice.  Low  Voice.  Vol.  I.  Bemberg  to  Franck  ?        p,.,-   „  , 

Vol.  II.  Georges  to  Widor    $ ^nilip  Hale 

ONE  HUNDRER  ENGLISH  FOLKSONGS.  Medium  Voice  Cecil  J.  Sharp 

ONE  HUNDRED  FOLKSONGS  OF  ALL  NATIONS.  Medium  Voica  Granville  Bantock 

ONE  HUNDRED  SONGS  BY  TEN  MASTERS.  High  Voice.  Low  Voice) 

Vol.  I.  Schubert,  Schumann,  Franz,  Rubinstein  and  Jensen  >  Henry  T.  Finck 

Vol.  II.  Brahms,  Tchaikovsky,  Grieg  Wolf  and  Strauss  ) 

ONE  HUNDRED  SONGS  OF  ENGLAND .  High  Voice.  Low  Voice  Granville  Bantock 

SEVENTY  SCOTTISH  SONGS.  High  Voice.  Low  Voice  Helen  Hopekirk 

SIXTY  FOLKSONGS  OF  FRANCE.  Medium  Voice  Julien  Tiersot 

SIXTY  IRISH  SONGS.  High  Voice.  Low  Voice  William  Arms  Fisher 

SIXTY  PATRIOTIC  SONGS  OF  ALL  NATIONS.  Medium  Voice  Granville  Bantock 

SONGS  BY  THIRTY  AMERICANS.  High  Voice.  Low  Voice  Rupcii  Hughes 

SONGS  FROM  THE  OPERAS  FOR  SOPRANO  H.  E.  Krehbiel 

SONGS  FROM  THE  OPERAS  FOR  MEZZO-SOPRANO  H.  E.  Krehbiel 

SONGS  FROM  THE  OPERAS  FOR  ALTO  H.  E.  Krehbiel 

SONGS  FOR  THE  OPERAS  FOR  TENOR  H.  E.  Krehbiel 

SONGS  FOR  THE  OPERAS  FOR  BARITONE  AND  BASS  H.  E.  Krehbiel 

Each  volume  in  heavy  paper,  cloth  back,  $2.00;  in  full  cloth,  gilt,  $3.00.  Copies  mailed  postpaid. 
Other  volumes  in  preparation.  Booklets,  giving  full  particulars,  with  portraits  of  Editors  and  contents 
of  volumes  published,  FREE  on  request. 

Note— These  works  will  be  sent  with  return  privilege  to  those  with  accounts  in  good  standing,  and  to 
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Favorite  Songs  of  Famous  Singers 


Price,  each,  $1.25  postpaid 


My  Favorite  French  Songs 


Books  I  and  II 


By  EMMA  CALVE 


High  Voice   Low  Voice 


CThe  great  singer  here  gathers  together  her  favorites  among  French  songs — mostly  modern,  some 
operatic,  and  a  few  of  the  ultra-modern  school.  To  these  she  adds  a  group  of  "Songs  my  Grand- 
mother sang,"  making  a  truly  unique  and  distinguished  collection.  From  these  charming  old  melodies 
down  to  the  songs  of  Debussy  the  singer  indicates  all  that  is  best  in  the  realm  of  French  song  composi- 
tion. Complete  with  biographical  sketch  with  portraits  and  an  introduction  from  Mme  Calve's  pen. 
A  splendid  group  of  songs  valuable  to  both  singers  and  concert  goers.  — BOSTON  TIMES 


Books  I  and  II 


My  Favorite  Songs 

By  JULIA  CULP 


High  Voice   Low  Voie*. 


CThe  favorite  songs  of  this  highly  praised  .L/ecfer-singer  are  drawn  from  the  music  of  many  different 
lands,  from  her  native  Holland  to  our  own  America,  and  including  France,  Germany,  Ireland,  etc. 
This  collection  is  made  up  of  such  numbers  as  have  won  Mme.  Culp's  affection  as  well  as  proved 
their  acceptability  to  her  enthusiastic  audiences,  and  the  volume  is  of  extraordinary  interest.  A  charm- 
ing introduction  from  the  singer's  own  pen  and  portraits  enrich  the  book. 

The  triumphs  of  the  singer  are  reflected  in  her  book. — THE  MUSICIAN 


My  Favorite  Songs 


High  Voice  By  GERALDINE  FARRAR  Low  Voice 

CThis  gifted  singer  shows  her  musical  training  by  the  preponderance  of  German  songs  in  the  collec- 
tion she  has  brought  together.  The  various  numbers  have  been  sought  out  with  indefatigable  zeal, 
largely  from  treasures  of  song  buried  or  neglected  in  the  works  oi  great  writers,  and  are  therefore,  in 
many  ways,  new  to  the  average  teachei  or  singer.  Songs  from  other  lands,  such  as  Russia  and  Scandi- 
navia are  also  included.  The  book  contains  a  biographical  sketch,  portraits,  a  striking  portrait  on  the 
cameo  plate  paper  cover,  in  the  engraver's  best  art. 

Miss  Farrar's  selection  evidences  a  most  eclectic  and  at  the  same  time  impeccable 
musical  taste.- MUSICAL  COURIER 

The  Most  Attractive  Volume  of  Folksongs  Ever  Published 

My  Favorite  Songs 

High  Voice  By  MARCELLA  SEMBRICH  Low  Voice 

CMarcella  SSmbrich  was  the  first  among  great  singers  to  reveal  the  treasures  of  folksong,  and  her 
knowledge  of  these  gems  from  many  lands  is  most  extensive.  In  this  volume  she  has  collected  those 
which  her  experience  proved  were  grateful  to  the  singer  and  pleasing  to  her  audiences. 

These  are  the  folksongs  which  Marcella  Sembrich  has  sung  so  often  in  her  concerts  that  the 
seal  of  public  approval  is  stamped  upon  them  all.— MUSICAL  COURIER. 


High  Voice 


My  Favorite  Songs 

By  ALMA  GLUCK 


Low  Voice 


C.No  contemporary  recital-singer  has  a  larger  following  of  charmed  listeners  than  Mme.  Gluck,  and 
her  excellent  choice  of  songs  plays  a  vital  part  in  her  success.  The  numbers  included  in  this  volume 
she  has  gathered  from  many  sources;  but  they  all  serve  to  display  the  suave  lyricism,  the  delicate 
nuances,  and  the  arch  humor  of  her  captivating  art.  Portraits  and  an  introduction  from  the  pen  of  the 
singer  complete  the  attractive  features  of  the  book. 

Singers  will  do  well  to  avail  themselves  of  this  rare  selection  of  songs,  with  which  the 
favorite  singer  has  largely  won  her  popularity — THE  MUSICIAN 

Oliver  Ditson  Company,  179  Tremont  Street,  Boston 

Chas.  H.  Ditson  &  Co.,  New  York  Lyon  &  Healy,  Chicago 

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it 


I 


m 


Standard  Opera  Librettos 

All  librettos  have  English  text.  Additional  texts  are  indicated  by  Italic  letters,  as  follows : 
/,  Italian;  G  German,  F  French,  Those  marked  with (*) contain  no  music  and  are  15  cents 
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A— G 


Title 

Text 

Composer 

Title 

Text 

Composer 

Africaine,  L' 

/. 

Giacomo  Meyerbeer 

Don  Giovanni 

/. 

W,  A.  Mozart 

Aida 

/. 

Giuseppe  Verdi 

Don  Pasquale 

/. 

Gaelano  Donizetti 

*Amico  Fritz,  L'  (Friend 

*  Dorothy 

Alfred  Cellier 

Fritz) 

/. 

Pielro  Mascagni 

Elisire  d'amore,  I ' 

/. 

Gaetano  Donizetti 

Armide 

F. 

C.  W.  von  Ghick 

*Erminie 

/. 

Edward  Jakobowski 

Ballo  in  Maschera,  Un 

Ernani 

/. 

Giuseppe  Verdi 

(The  Masked  Ball) 

I. 

Giuseppe  Verdi 

Etoile  du  Nord,  L'  (The 

Barbe-Bleue  (Blue 

Star  of  the  North) 

/. 

Giacomo  Meyerbeer 

Beard) 

F. 

Jacques  Offenbach 

Fatinitza 

Franz  von  Suppe 

Barbiere  di  Siviglia,  11 

Faust 

F. 

Charles  Gounod 

(Barber  of  Seville) 

/. 

Gioacchino  A .  Rossini 

do. 

I. 

do. 

Belle  HeTene,  La 

F 

Jacques  Offenbach 

Favorita,  La 

L 

Gaelano  Donizetti 

Bells  of  Corneville 

G. 

L.  van  Beethoven 

(Chimes  of  Normandy) 

Robert  Plan  quelle 

Fidelio 

*Billee  Taylor 

Edwaj'd  Solomon 

Figlia  del  Reggimento, 

La  (Daughter  of  the 

*Boccaccio 

Franz  von  Suppe 

Regiment) 

1. 

Gaetano  Donizetti 

Bohemian  Girl,  The 

Michael  Wm.  Balje 

r  me  ue  jjiauame  Angot, 

do. 

I. 

do. 

La 

Fo 

Charles  Lecocq 

Carmen 

F. 

Georges  Biz  el 

Flauto  Magico,  11  (The 

do. 

I. 

do. 

Magic  Flute) 

I. 

IV.  A.  Mozart 

Cavalleria  Rusticana 

/. 

Pielro  Mascagni 

Fledermaus,  Die  (The 

Chimes  of  Normandy 

Bat) 

G. 

Johann  Strauss 

(Bells  of  Corneville) 

Robert  Planquelle 

Fleur  de  The 

F. 

F  Ilcrve  (Ronger) 

Cinderella 

/. 

Gioacchino  A.  Rossini 

Flying  Dutchman,  The 

Richard  Wagner 

Contes  d'Hoffmann,  Les 

do^ 

G. 

do. 

(Tales  of  Hoffmann) 

F. 

Jacquts  Offenbach 

Fra  Diavolo 

I. 

D,  F.  E.  Auber 

Crispino  e  la  Comare 

Freischiitz,  Der 

G.  Carl  Maria  von  Weber 

(The  Cobbler  and 

I. 

do. 

,  the  Fairy) 

1. 

Luigi  and  F.  Ricci 

do 

Crown  Diamonds,  The 

F. 

D.  F.  E.  Auber 

♦Gillette  {La  Belle 

Dame  Blanche,  La 

F.  A.  Boieldieu 

Coquette) 

Edmond  Audran 

Damnation  of  Faust,  The 

F. 

Pleclor  Berlioz 

Gioconda,  La 

I 

A  mil  care  Pone  hie  Hi 

Dinorah 

1. 

Giacomo  Meyerbeer 

Girofle-Girofla 

F 

Charles  Lecoco 

^Doctor  of  Alcantara,  The 

Julius  Eichberg 

Gotterdammjrung,  Die 

G. 

Richard  Wagner 

I 

I 


e   ®  OLIVER  DITSON  COMPANY  o  a 


Standard  Opera  Librettos 

All  librettos  have  English  text.  Additional  texts  are  indicated  by  Italic  letters,  as  follows : 
/,  Italian;  G,  German;  F,  French.  Those  marked  with (*) contain  no  music  and  are  15  cents 
a  copy.  All  the  others  have  the  music  of  the  principal  airs  and  are  25  cents  each. 


g— z 


Title 

Grand  Duchess  of 
Gerolstein,  The 

♦Hamlet 
Jewess,  The 
Konigin  von  Saba 

(Queen  of  Sheba) 
Lakine 

Lily  of  Killarney,  The 
Linda  di  Chamounix 
♦Little  Duke,  The 
Lohengrin 

do. 

♦Lovely  Galatea,  The 

Lucia  di  Lammermoor 

Lucrezia  Borgia 
♦Madame  Favart 

Manon 

Maritana 

Marriage  of  Figaro 

Martha 
♦Mascot,  The 

Meistersinger,  Die 
(The  Mastersingers) 

Mefistofele 

Merry  Wives  of 
Windsor,  The 

Mignon 

Mikado,  The 
♦Musketeers,  The 
♦Nanon 

Norma 
♦Olivette 

Orpheus 


Text 


Composer 


F.  Jacques  Offenbach 
Ambroise  Thomas 

I,       Jacques  F.  Halevy 

G.  Karl  Goldmark 
I.  Leo  Delibes 

Sir  Jules  Benedict 
I.        Gaetano  Donizetti 
Charles  Lecocq 
G.        Richard  Wagner 
I.  do. 

Franz  von  Suppe 
I.  Gaetano  Donizetti 
L  do. 

Jacques  Offenbach 

F.  Jules  Massenet 
Wm.  Vincent  Wallace 

L  W.  A.  Mozart 

/.  Friedrich  von  Flotow 
Edmond  Audran 

G,  Richard  Wagner 
I,  Arrigo  Boito 

Otto  Nicolai 
I,        Ambroise  Thomas 
Sir  Arthur  S.  Sullivan 
Louis  Varney 
Richard  Genie 
I,  Vincenzo  Bellini 

Edmond  Audran 
C.  W,  von  Gluck 


Title 
Otello 
Pagliacci,  I 
Parsifal 

Pinafore  (H.M.S.) 
Prophete,  Le 
Puritani,  I 

Rheingold,  Das  (The 
Rhinegold) 

Rigoletto 

Robert  le  Diable 

Romeo  et  Julietta 

Romeo  e  Giulietta 

Samson  et  Dalila 

Semiramide 

Siegfried 
♦Sleeping  Queen,  The 

Sonnambula,  La 
♦Sorcerer,  The 
♦Spectre  Knight,  The 
♦Stradella 

Tannhauser 

Traviata,  La 

Tristan  und  Isolde 

Trovatore,  II 

Ugonotti,  Gli  (The 

Huguenots) 

Verkaufte  Braut,  Die 
(The  Bartered  Bride) 

Walkiire,  Die 

William  Tell 

ZauberfliJte,  Die  (The 
Magic  Flute) 


Text  Composer 

/.  Giuseppe  Verdi 

I,  R.  Leoncavallo 

G.  Richard  Wagner 
Sir  Arthur  S.  Sullivan 

I.  Giacomo  Meyerbeer 

I.  Vincenzo  Bellini 

G.        Richard  Wagner 

/.  Giuseppe  Verdi 

/.  Giacomo  Meyerbeer 

F.  Charles  Gounod 

L  do. 

F.  Camille  Saint- Saens 
I.  Gioacchino  A.  Rossini 

G.  Richard  Wagner 
Michael  Wm.  Balfe 

/.  Vincenzo  Bellini 

Sir  Arthur  S.  Sullivan 
Alfred  Cellier 
Friedrich  von  Flotow 
G.        Richard  Wagner 
J.  Giuseppe  Verdi 

G.  Richard  Wagner 
/,  Giuseppe  VeraH 

J.      Giacomo  Meyerbeer 

G.  Friedrich  Smetana 
G.  Richard  Wagnsr 
I.  Gioacchino  A .  Rossini 


G. 


W.  A.  Mozart 


*  ©  OLIVER  DITSON  COMPANY  •  • 


g^=it====snr=ii-  ir==nr  ir=ii  ii=ir 

J  Songs  from  the  Operas 


Edited  by  H.  E.  KREHBIEL 

Bound  in  paper,  cloth  back,  $1.75  each,  postpaid 
In  full  cloth,  gilt,    .    n    .    $3.00  each,  postpaid 


In  these  volumes  of  THE  MUSICIANS  LIBRARY  the  editor  has 
presented  in  chronological  order  the  most  famous  arias  from  operas  of 
every  school.  Beginning  with  songs  from  the  earliest  Italian  productions, 
a  comprehensive  view  of  operatic  development  is  given  by  well-chosen 
examples  from  German,  French,  and  later  Italian  works,  down  to  con 
temporary  musical  drama. 


ii 


L 


11.  Each  song  or  aria  is  given  in  its  original  key  with  the  original  text,  and 
a  faithful  and  singable  English  translation. 

C^Each  volume  contains  an  interesting  preface  by  Mr.  Krehbiel  with 
historic,  descriptive  and  interpretative  notes  on  each  song. 

Portraits  of  the  most  noted  composers  represented  are  given  in  each 
volume. 

Size  of  each  volume,  gj^x  ii}4  inches. 

Soprano  Songs  from  the  Operas 

Contains  twenty-three  numbers  by  nineteen  composers.  The  music  covers  188 
pages,  the  prefatory  matter  25  pages.  Portraits  are  given  of  Beethoven,  Bellini,  Gluck, 
Gounod,  Meyerbeer,  Mozart,  Rossini,  Verdi  and  Weber. 

Mezzo-Soprano  Songs  from  the  Operas 

Contains  thirty  numbers  by  twenty-five  composers.  The  music  covers  186  pages, 
the  prefatory  matter  29  pages.  Portraits  are  given  of  Auber,  Bizet,  Donizetti,  Handel, 
Massenet,  Saint-Saens,  Spontini,  Thomas  and  Wagner. 

Alto  Songs  from  the  Operas 

Contains  twenty-nine  numbers  by  twenty-two  composers.  The  music  covers  176 
pages,  the  prefatory  matter  20  pages.  Portraits  are  given  of  Glinka,  Gluck,  Handel, 
Lully,  Meyerbeer,  Purcell,  Rossini,  Thomas  and  Verdi. 

Tenor  Songs  from  the  Operas 

Contains  twenty-nine  numbers  by  twenty-one  composers.  The  music  covers  192 
pages,  the  prefatory  matter  27  pages.  Portraits  are  given  of  Beethoven,  Bizet,  Giuck, 
Gounod,  Mascagni,  Massenet,  Verdi,  Wagner  and  Weber. 

Baritone  and  Bass  Songs  from  the  Operas 

Contains  twenty-seven  numbers  by  twenty-four  composers.  The  music  covers 
188  pages,  the  prefatory  matter  20  pages.  Portraits  are  given  of  Bellini,  Bizet,  Cheru- 
bini,  Gounod,  HaleVy,  Handel,  Mozart,  Ponchielli  and  Tchaikovsky. 


at  if==ii  ir=iy  ii=ii_— ir=ii